March 30, 2012: Passover Edition

Sponsored by the Benjamin and Anna E. Wiesman Family Endowment Fund AN AGENCY OF THE JEWISH FEDERATION OF OMAHA

March 30, 2012 | 7 Nisan 5772 Vol. 92 | No. 28 3 Sections

2 | The Jewish Press | April 15, 2011

Introduction

American Jewish Press Association Award Winner

Nebraska Press National Newspaper Association Association Award winner 2008

Go ahead, pass the Matzah

Full disclosure: I am writing this in February, although what you are reading is most likely a later draft. It feels strange to get ready for Passover when the Hanukkah decorations have barely been put away. And yet, it’s what we do: in order to put some 60-plus pages together, you have to start a little early. Scratch that: a lot early. Also, for an issue like this to ever see the light, quite a few people have to be mobilized. First of all, we want to thank the Jewish Press staff: Creative Director Richard Busse, who never fails to amaze us; Assistant Editor Lori Kooper-Schwarz, who is my right hand and keeps me much more organized than I would be were I left to my own devices; and, of course, our advertising executive Jessie Wees, without whose hard work there would not be a special issue. We would also like to acknowledge the support we receive from other departments at the Jewish Federation, who help us with everything from billing to payroll to keeping the lights on; you’re a large group of people, and we say thank you for helping us in a myriad of ways.

We could not do this without our Board of Directors helping us decide on the Passover theme; something they did back in November of 2011. After that, we contacted a long list of writers; they all responded enthusiastically, and we’d like to thank them: Ozzie Nogg, Hal Senal, Gloria Shukert-

Jones, Sherrie Saag, Amber Partin, Bert Lewis, Lois Friedman, Oliver Pollak, Ophir Palmon, Masada Siegel, Jill Belmont, Sybil Kaplan, and Nancy Rips. (Did I forget anyone? I really hope not). Oh, wait: Mike Silverman! Thank you for your support, Mike. You’re the best.

This time, we were also lucky enough to receive additional material from Mary Sue Grossman and Mark Kirchhoff at the Center for Jewish Education. They even agreed to display several books about Jewish Art at the Kripke Library, in tandem with our Passover theme, which is something we are very excited about.

The theme we chose this time is Jewish art and Jewish artists. What does that have to do with Passover? It depends on whom you ask. Of course, the holiday itself has inspired Jewish artists throughout the years to design, write about, and create a massive amount of Judaica for the Seder table.

However, there’s more to Jewish art than Kiddush cups and Matzah covers. Creating beautiful things is one of the many ways in which we can celebrate our freedom. It’s why, even during the darkest times, people still feel the need to create.

It’s a way of saying: “we were here.”

Once again, this is not merely a list of community members who somehow find themselves within the boundaries of a chosen topic. In creating this issue, we attempted to offer

as broad a spectrum as we could. That is why, in addition to profiles of local artists and about those who have a connection to Omaha, you will also find stories about the rich and famous, about our Jewish Community Center Gallery, and about artwork that can be found around our building. We have stories about early artists, books about art, and artwork by children. And yes, thanks to the fabulous Ozzie Nogg, there is a story about Haggadot.

As soon as we started putting together this issue, it became painfully obvious: there is an unbelievable number of artists in Jewish Omaha. Therefore, we could not include every single one, and this edition by no means shows the complete picture of all the beauty that is created locally on a daily basis. I take it as a good sign; after all, there are always more stories to tell. Still, we hope to have given you a taste. Maybe you’ll find yourself inspired enough to visit a local art gallery, or pick up a paintbrush yourself. If you do, feel free to give us a call, because we will definitely do this again.

In the meantime, go ahead, and pass that Matzah. We are really, really ready. We wish the entire Jewish Community, here in Omaha and elsewhere, a wonderful Passover.

Andy Ruback, Jewish Press Board President Annette van de Kamp-Wright, Editor

On the cover is a close-up of one of the seven panels that make the painting The Days of Creation by Israeli artist Michal Meron. The piece is being shared with us by Joel and Daphna Alperson. You can read more about the piece on page 20.

passover Greetings

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(Founded in 1920) Andrew Ruback President Annette van de Kamp-Wright Editor Richard Busse Creative Director Jessie Wees Advertising Executive Lori Kooper-Schwarz Assistant Editor Barbara Kirkpatrick Bookkeeper

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March 30, 2012 | The Jewish Press | 3

Haggadah Art: Illuminating our way through Jewish history

by OZZIE NOGG helmeted soldier armed with dagger, sword, club and shield.

Once upon a time in 1320, a wealthy Jewish family in His eyes stark and black, his teeth bared. In the 1879 Chicago Barcelona said, “We need a magnificent Haggadah, muy Haggadah, the wicked son is a newly-minted American linda, to grace our Passover Seder.” And so they commis- businessman, smoking at the seder -- the son who thumbs sioned artists to create such a manuscript. And the artists his nose at his parents’ old-world traditions, a symbol of the took sheets of vellum generation gap and and quills plucked from cultural divide geese, and wrote the between immigrants Hebrew text in black and their assimilated iron gall ink and children. By 1959, in applied gesso and bright the Clashing Cultures pigments to the pages Haggadah illustrated and drew miniature

by Siegmund Forst, scenes from the Book of the wicked son (who Genesis on gold leaf resembles the Marxist backgrounds -- Adam Leon Trotsky) has naming the animals, morphed into a the creation of Eve, Jewish socialist revoNoah and his family lutionary with his ax leaving the ark -- and raised against the Ten when the artists’ work Commandments, in was done they presentconflict with his elded the family with the erly ultra-orthodox illuminated Golden Eastern European Haggadah. And it was ancestors. very beautiful, indeed.

The simple son and Other sumptuously the child who does illustrated and glorinot know how to ask ously calligraphed have received makemedieval Haggadot overs, too, and today include the Bird’s Head they appear in conHaggadah, the Prato temporary guises -- a Haggadah and the legkid wearing a baseball endary Sarajevo cap; a little lamb that Haggadah -- each follows blindly; a todresplendent with gilded dler asleep beside a furbelows, whimsical mother goose; a baby plant motifs and phanwith a binky. My pertasmagoric creatures sonal favorite? The Haggadah - The Four Sons frolicking among stylComedy Trans/gender ized biblical imagery. When the first Hebrew printing press Queer Liberation Haggadah by Reuben Zellman, MC opened in Prague in 1512, scribes could finally soothe their Ettinger, Sierra Springarn and Rachel Kliegman. This verarthritic fingers, rest their weary eyes and buy the printed sion brings us the Eco-Feminist Crusty Punk Rock Vegan Prague Haggadah (1526), embellished with sixty woodcuts Hypochondriac Child who asks, “Was this Haggadah printdesigned to bring the Passover story to life (See Moses in the ed in a union shop on 100% post-consumer recycled hemp basket! See Egyptians drowning!) and thereby keep kids paper using soy ink that was not tested on animals, and has from nodding off into their matzoh ball soup during the anyone seen my inhaler?” Gotta love it. seder.

No overview of Haggadah illustrations is complete withBut how do we Jews reconcile the illustrated Haggadah out a deep bow to the Szyk Haggadah, cited by The Times of with Commandment #2 that speaks against graven images? London as ‘worthy to be placed among the most beautiful of In the above mentioned Bird’s Head Haggadah, the artist books that the hand of man has produced.’ Created by avoided transgression by swapping human faces for birds’ Polish-Jewish artist Arthur Szyk in Lodz, between 1934 and heads complete with prominent beaks -- an acceptable, 1936, the Haggadah combines illuminated miniatures with albeit weird, compromise with the graven image prohibi- biting satire. In forty-eight watercolor and gouache painttion. Eventually, medieval religious leaders saw no danger of ings, Szyk’s visual commentary equates the genocidal idolatry by using human forms in Haggadot, since the books Pharaoh of the Passover narrative with Adolph Hitler, and were aimed at children and created for home ritual, not a draws vivid parallels between the oppressive Egyptian synagogue service. This decision was (you should excuse bondage and tyrannical Nazi Germany of the 1930s. The me) a godsend for future generations of artists. first edition of the Haggadah was printed in London in Today, there are an estimated 3,000 to 5,000 different illus- 1940, but only after pressure from the publisher forced Szyk trated versions of the Haggadah. And since the text tells us, to remove the more blatant political references, such as the “In every generation, each of us is obligated to see ourselves swastikas on the armbands worn by the Egyptians who as having come out of Egypt”, Haggadah art often serves as oversaw the Hebrew slaves. Szyk’s illustration depicting the a barometer of how the political, social and cultural winds wicked son as a blond Aryan with a Hitler-like mustache, are blowing. Case in point. In her Antisemitic Hate Signs in remained. Szyk immigrated to New York in 1940 where he Hebrew Illuminated Manuscripts from Medieval Germany became an advocate for the rescue of European Jewry and a (1999), art historian Ruth Mellinkoff writes that the draw- supporter of Israel’s struggle for independence. In 1945, ings in the Bird’s Head Haggadah are not the work of a wily Szyk illustrated the pamphlet, There Were Four Sons, issued Jewish illustrator, but rather the mark-making of a non- by Zionist activists in the Untied States. His starkly modern Jewish, Anti-Semitic artist who deliberately put large, beak- retelling of the Four Sons creates a new image of the musculike noses on the human head. To buy Mellinkoff ’s theory is lar Jewish worker/soldier, and is taken straight from the to own a perfect example of life imitating art. Or art imitat- debates then raging in the American Jewish community ing life. Indeed, if we compare different periods of Jewish over the future of Palestine. history through the imagination of different Haggadah In Haggadah and History (1975) the late professor Yosef artists, we learn much about our changing attitudes since Hayim Yerushalmi observed, “The Haggadah as a book is, the Exodus. With apologies to those ( including me ) who time and again, inseparable from its role as a mirror of hisprefer the more egalitarian Four Children, on this tour the tory itself. No matter from which angle the printed Four Sons will guide us.

Haggadah is approached, sooner or later we confront some The wise son is traditionally shown as a passive scholar significant development of the last five hundred years, some wearing glasses, his delicate back hunched over a book. Four modicum of knowledge concerning the time and place in hundred years later, the drawing of the wise son by Tzvi which they were printed.” According to Yerushalmi, “Many Livni in The Socialist Zionist Haggadah (1955) shows a more Haggadahs will yet be published before the ‘ultimate’ smart kid holding the traditional book, but this sun-burnt edition appears.” Will that edition include the ‘ultimate’ verteenager is dressed as a pioneering kibbutznik, a symbol of sion of the Four Sons? the newly triumphant Zionist socialist spirit of the young While we wait for the answer, read The Four Sons as State of Israel, a member of the generation who will reject Characters from Glee -- an article from The Forward, written the old ways in favor of Jewish nationalism.

by Jay Michaelson and available at http://www.forward.

In many early Haggadot, the wicked son is depicted as a com/articles/136960/

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4 | The Jewish Press | March 30, 2012

Passover Greetings

An unlikely friendship: Chaim Soutine and Amedeo Modigliani

by ANNETTE VAN DE KAMP-WRIGHT Editor of the Jewish Press There is something decidedly romantic about Paris. We call it the city of love, the city of light, and those words color our perceptions to the point where it hardly seems like a real place. Especially when we think of the early 20th century art scene, we have bohemian visions of dark cafes, cobblestone

drunken bouts and his public misbehavior, but there is more than one interesting tale to tell about this artist.

Several years after he arrived in Paris, Amedeo made a most unlikely friend in Chaim Soutine (1893-1943). Chaim was also a Jewish painter who had moved to Paris to pursue his art, but that is where the initial likeness ends.

Chaim Soutine portrait

by Amedeo Modigliani

Amedeo Modigliani self-portrait

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streets, and tortured but brilliant artists, who ultimately – though they suffer greatly for their art – are recognized, worshiped, and revered long after they are no more.

It is entirely possible that when JewishItalian painter and sculptor Amedeo Modigliani (1884-1920) arrived in Paris in 1906, he was anticipating a much darker side of the city, one defined by poverty, despair, melodrama and mind altering substances. It wouldn’t be the first time; even as a teenager, he had a flair for the dramatic, and for pushing the envelope.

Amedeo was born in Livorno, Italy.

According to family legend, his mother Eugenie Garsin, who grew up in Marseille, could trace her lineage all the way back to Baruch Spinoza; the Sephardic Garsin family had produced many scholars and even founded a Talmudic school. Amedeo’s father, Flaminio Modigliani, who also came from a wealthy family, oversaw 30,000 acres of timberland and managed his family’s mine in Sardinia. That social status was rudely interrupted when the price of metal plunged in 1883.

In spite of the fact that the Modiglianis lost their fortune around the time of his birth, Amedeo received a good education and all benefits and mannerisms that came with a privileged upbringing. Eugenie established a school and saved the family from utter ruin; she took Amedeo on various trips, and by her own account somewhat spoiled him. Amedeo was a sickly child (he suffered from pleurisy when he was 11, and contracted typhoid fever and tuberculosis as a teenager), which may have been a factor.

Either way, his mother indulged his passion for the arts by taking him to Florence to see the paintings of the Renaissance masters, and enrolling him with Livorno’s best teacher, Guglielmo Micheli.

In 1902, he enrolled in the Accademia di Belle Arti in Florence. A year later, he attended the Istituto di Belle Arti. He tried hashish for the first time, and it was then that he started his downward spiral, which eventually turned him into a dedicated alcoholic and a drug addict. It became a pattern, and would lead to – and probably speed uphis death from tubercular meningitis in 1920. One could write volumes about his

Born in a shtetl in Smilavichy, near Minsk, Belarus, he came from extreme poverty and had suffered much abuse at the hands of his father and brothers. His atrocious manners are legendary, and he presented the exact opposite picture of Amedeo. While Amedeo has always had the support of his family, Chaim had been belittled by his family his entire life for wanting to be an artist instead of a cobbler. When he was sixteen, he transgressed the Law by painting a portrait of the local rabbi, and as a result was locked up by the local butcher and beaten. He left shortly thereafter, never to look back.

How both artists were treated in their youth left its mark: where Amedeo was suave, self assured and extroverted, always ready to make friends, Chaim was quiet and anti-social. While Amedeo would become famous for his nudes, Chaim is best known for his series of bloody Beef Carcass paintings (the stench of the actual carcass that he used as a model drove the neighbors to call the police).

Chaim did not wish to be seen as another Chagall or Katz, and refused to paint Shtetl scenes. He also often denied knowing Yiddish, even when Amedeo begged him to say a few lines. While Amedeo would proudly introduce himself as “Modigliani, the Jew,” Chaim preferred to not talk at all, but sulk in a corner instead. For him, his Jewish upbringing wasn’t something to be proud of, it was something he despised and wanted to forget.

Amedeo was well read, often quoting his favorite authors such as Nietzsche and Baudelaire whenever the situation called for it, but Chaim was practically illiterate.

Amedeo’s poverty in Paris was interspersed with periods of relative affluence whenever his family sent him some money. Money he willingly shared with his friend; Chaim’s poverty was real and bitter.

In spite of his poor health, Amedeo attempted to join the army at the onset of the war in 1914. Chaim was scared of everything and refused to even talk to government officials. Amedeo was as fond of women in real life as he was while painting, and his love affairs with Anna Akhmatova and Jeanne Hébuterne were the stuff of legends; Chaim ran from the few women who Continued on page 5

March 30, 2012 | The Jewish Press | 5

An unlikely friendship The kid with the coloring book Continued from page 4 fell in love with him, and sought refuge with prostitutes instead.

And yet, the two were great friends.

Amedeo treated Chaim as a younger, less fortunate brother; he taught him to chew with his mouth closed and keep his fork off his neighbors’ plates in restaurants. And somehow, this sullen, anti social ‘younger brother’ allowed Amedeo into his life.

In spite of their differences, they both pursued similar goals in their art. Both valued their independPortrait of Jeanne Hébuterne ence from reigning

by Amedeo Modigliani art movements; neither wanted to be tied down to Fauvism, Expressionism, or any of the salons that were so popular in and around Montparnasse. At the same time, they both suffered from ill health. Amedeo masked the symptoms of his tuberculosis through drugs and alcohol, because he didn’t want people to ostracize him, which often happened to TB patients during that time. Only Chaim knew how sick Amedeo truly was. Chaim himself developed a stomach condition and eventually a bleeding ulcer, aggravated by malnutrition. And ultimately, only Chaim knew what was his friend’s biggest regret: Amedeo wanted to be a sculptor, not a painter, and it weighed heavily on him.

Amedeo Modigliani died in 1920; Chaim Soutine would survive him by 23 years. Unlike his best friend, he did live long enough to experience critical acclaim, though nothing compared to what would happen to both artists’ reputations in later years (that famous Beef Carcass painting went for $7.8 million at Christie’s in 2006; that same year, The Concierge’s Son, Modigliani’s 1918 portrait of a boy, fetched $31 million at Sotheby’s).

Chaim also lived long enough to see the Nazis come to power and destroy life as he knew it. Suddenly, avoiding all reference to his Jewish upbringing was no longer an option: he had to hide from the Gestapo. His condition worsened, and he risked exposure in order to have an operation. The procedure was not successful; Chaim died on August 9, 1943, of a perforated ulcer. It was something else the friends had in common: a tragic death that leaves us wondering: what if?

by SHERRIE SAAG graduating from high school. She had some great recollec“Abstract. That is how I would describe how I express tions from her school days; stories that demonstrate the true myself. Realism always came very easy to me. I can copy just meaning of Art for Art’s Sake. about anything, so I prefer the abstract. It is much more of a “We were painting nudes in a freshman level class and I had challenge,” said Mimi Silverman. finished a canvas I was rather pleased with. I wanted to take it “The circle and square are like the elements of life. If you home, although it was still wet. This did not deter me in the break down the reality of the world into the simplest of slightest; I walked out of the school building with the wet canforms, it’s the circle and square.” vas facing away from me and walked the 10 city blocks to “I’ve always loved art and those who knew me growing up Penn Station; completely unaware as to why everyone I always saw me recrepassed was staring at ating things I saw on me and casting me paper. It’s just somedirty looks. Maybe thing I’ve always today this wouldn’t be been able to do,” she a big deal, but in the added.

1980’s a white girl Growing up on carrying a canvas of a Long Island, Mimi naked black man would describe her earned lots of stares,” childhood as fairly she said. typical. She has two “During a photogsiblings, both brothraphy class, I had ers, one in Houston decided to attend the and the other in huge parade for Denver. Her mother, returning military Liz, still resides in personnel after New York City with Operation Desert her husband, Shelley.

Storm. The crowds Mimi’s mural at the Rose Blumkin Home She says she was were enormous and I always “the kid with the coloring book”. couldn’t get the shots I needed for my class. So, somehow I got After completing her junior year in high school, Mimi up the nerve to talk my way inside the parade barricades. I got traveled to France on a six week program with the Parsons great shots, but I also got in trouble for missing class that School of Design, spending 3 weeks each in Paris and afternoon. Only after my professor saw my prints, did he Dordogne, the region between the Loire valley and the back down and he ended up apologizing to me,” Mimi said.

Pyrenees famous for its Paleolithic cave paintings, the Caves “I still have those prints in my home.” of Les Eyzies. Here, the students studied the world famous Well, we all know the turn this story takes. Mimi met her primitive art forms drawn upon the cave walls, estimated to husband, Mike, and years later, relocated to Omaha. When be over 17,000 years old.

Mike was looking for an artist to cover the exterior wall of “Being on an art trip and seeing the first known art in all the Schrager café at the Rose Blumkin Jewish Home (the of history, it was just unbelievable for me,” Mimi said. space is a gift from the Schrager family in honor of Jack and In Paris, their time was consumed with classes, mostly in Sonia Schrager), he didn’t have to look any further than his drawing. “We were the students you’ve either seen or heard own kitchen. about, drawing or painting while sitting along the Seine. It The idea was to have a mural that invited residents and was just an amazing experience,” she recalled. their guest to come in and have a private meal or visit. Mike She also recalled, interestingly, a little side-trip she just wanted vibrant, bright colors that would entice and invigorcouldn’t resist taking. One afternoon, she stole away to see ate the residents. the gravesite of Jim Morrison. The lead singer of The Doors “Most people don’t know this, but the mural I painted on moved to Paris in 1971 and it is where he died shortly after the north wall is actually a cover of a southern Jewish cook his last studio recording at the age of 27. For Mimi, a great book. I altered it slightly to better fit the Blumkin environmusic lover, this outing was not to be missed. ment. I changed the green tomatoes to red and added some Most people visit Paris to see French architecture, the wine glasses to invoke the spirit of communal togetherness Louvre and the Eiffel Tower, and Mimi did those things, but at the Shabbat table.” not before setting off for the Pere Lachaise Cemetery to find It almost goes without saying what a special place the the final resting place of Jim Morrison.

Blumkin Home is to both Mike and Mimi. She is especially With her passion and future direction decided, Mimi pleased to have been able to utilize her talent in a way that enrolled in the School of Visual Arts in New York City after brings joy and smiles to the Blumkin residents.

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6 | The Jewish Press | March 30, 2012

The Golem as art

by OZZIE NOGG One misty dawn, Rabbi Judah Loew crouched on the banks of the Moldau, muttered kabbalistic incantations and secret names as he mixed mud, water, fire and air to create the giant Golem of Prague, three cubits tall, the fearsome protector of the medieval Jewish ghetto, a lumbering automaton with the Hebrew word emet -truth -- chiseled into its forehead. No Michelangelo’s David, this golem, but a statue of sorts.

Now, fast forward from the 16th century and Rabbi Loew to a cadre of contemporary sculptors who embrace the golem narrative that dates back to Genesis, where God formed Adam in His own image from the dust of the ground and breathed into his nostrils the breath of life. “If God could make Adam in His image, then man can make something from his own image as well,” says Hungarian ceramic artist Levente Thury. True to his word, Thury has created thousands of golems, each a different interpretation of the Rabbi Loew legend.

The golems Thury builds range in size from less than an inch to larger than life.

Except for tiny representations which he often gives to friends as magical talismans, he rarely sculpts an entire figure. Art critics describe Thury’s golems as compositions of heads and other body parts, with serene but soulless faces and unseeing eyes. “There is no explicit violence in the compositions,” wrote one critic, “but the elements of Thury’s work are arranged in ways that can be eerie and disturbing, as well as highly sensual.”

Born in 1941 Budapest to a Jewish mother and a Christian father, Thury says his fascination with golems was inspired by family history that claims his maternal ancestors were related to Rabbi Loew. Most of Thury’s Jewish relatives died in the Holocaust, which

may account for his grim golems. “I make the surfaces a little bit raw -- raw human bodies, details of bodies. I don’t want to make a complete human body. I prefer to make parts. They aren’t human people, but remembrances of the body.

They have no soul, no wish. The owner, the maker, has to give a soul to them, give direction, like a computer prog r a m .”

W h e n T h u r y ’s Was this well-known golem statgolems ue the model for Darth Vader? w e r e shown at the University of Judaism’s Platt Gallery in 1995, the catalogue referenced his study of the kabbalah and called Thury’s figures the embodiment of abstract kabbalistic emanations -- understanding, wisdom, beauty, judgment and mercy. “What he’s done is an innovation,” said gallery director Judith Samuel. “Instead of doing it intellectually, he’s translated these emanations, an important part of Jewish mysticism, into visual objects.”

The late sculptor Niki De Saint Phalle approached the subject from a cheerier, albeit equally symbolic direction. Her surreal metal and concrete golem has sprawled in a Jerusalem playground since 1972.

Children climb an outside stairway into a dark chamber and then slide down three steep red tongues into a sandbox. Some

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interpret this golem’s dark chamber as a womb from which endless babies enter the world. The kids -- unfamiliar with Freudian theory -- regard the golem’s whimsical red tongues, the horn-like shape on its head and

Most entertainingly in London, England, where an assembled throng recently ate a lifesize golem in the shape of American artist Matthew Day Jackson that had been lovingly sculpted in sponge cake, delicious butter cream, marzipan, chocolate fondant and raspberry mousse. A second, savory golem shaped like Day Jackson -- whose art often focuses on death -- was made of calves’ feet and pig’s-head jelly packed with tripe, carrots, leeks and parsley. This golem remains uneaten, decomposing in a sealed room in a London bakery. I’m serious.

Who could make this up?

Finally. The golem legend tells us that Rabbi Loew’s creation eventually became Niki De Saint Phalle’s surreal metal and concrete golem -- increasingly violent, ran affectionately called The Monster -- sprawls in a Jerusalem amok, killed Jews and nonplayground.

Jews alike by its mere glance, the huge feet as merely goofy, and affection- and had to be destroyed. To deactivate the ately call the statue ha mifletzet -- the golem, the Rabbi rubbed out the first letter Monster. of the word emet from the creature’s foreToday, the golem is an international pop head leaving the Hebrew word met, meanculture icon. In Prague, at the entrance to ing dead. Loew stored the golem’s body in the city’s Jewish quarter, the looming, black, the attic of Prague’s Old New Synagogue faceless golem statue by Ladislav Saloun where it could be brought back to life if could be the model for Darth Vader. In needed. According to folklore, the golem Oregon, artist Daniel Duford’s clay, wax and still lies in the attic, but when the space was wood golem with over-developed quadri- renovated in 1883, no sign of the golem was ceps, massive neck, shoulder and chest mus- found. (Oh, pooh.) A film crew who visited cles is first cousin to The Incredible Hulk. In the attic in 1984 uncovered no evidence New York City, the DIY Art Party featured either. (Drat.) The attic is not open to the the Gotham Golem made from wood scraps, general public, and the whereabouts of the found objects and cloth, designed to protect golem’s remains remain a mystery. the creative arts in America just as Rabbi Or maybe not. In an episode of The Loew’s golem was created to protect the Jews Simpsons, titled Treehouse of Horror XVII, of Prague from anti-Semitism. Yes, golems Bart discovered the Golem of Prague in are everywhere.

Krusty’s storeroom.

Wishing Your

Passover is Filled with Health and

Happiness.

March 30, 2012 | The Jewish Press | 7

Free fall

A Permanent Solution Hair and Skin Center

by OPHIR PALMON Herod sat on the floor, hugging his legs tightly between his arms. Cold air was seeping in through parts of his suite, puncturing his skin with spills of tiny sharp thorns. He surveyed his surroundings. All alone. The floor was moving beneath him. It’s time, he thought. Decisive, he rose, his body heavy. He covered the distance to the door in four quick steps, and jumped. His stomach refluxed as he began falling down. Cold air pressed his body, arching his limbs behind his back. The thoughts that plagued his mind seconds ago were now

gone. Deep calm overcame him, and flooded his psyche with near euphoric happiness. The ground was rising toward him like a giant silent mammoth.

He was free, happy, and painless. A hundred miles per hour falling star.

One evening, when Herod was seven years old, he went to plug in a lamp in the living room of his boyhood home.

Unbeknown to anyone, danger loomed inside the wall.

Rainwater from a recent storm seeped through the ceiling, and soaked the ageing electrical wires. When Herod came to insert the plug into the mustard colored outlet, it happened.

An unseen force shot through his hand, grabbed him like a million tiny needles, and threw him back across the room.

His little body flew through the air and landed on the floor six feet away. The shock and surprise froze him. He rested there for a second. That brief state was quickly replaced with fear. His crying brought his mother in from the kitchen. The practical woman stopped at the door, touched her wet hands to her apron, and made a quick evaluation of her son’s behavior. Herod held his left hand close to his chest, crying with a high pitch voice and a blank stare. The young child he did not understand what had just happened to him, and could only offer a fearful cry as an explanation. After repeating her question twice to no avail, the mother surveyed the room for clues. Her eyes rested on the blackened outlet. The quick conclusion relaxed her mind somewhat. She stepped forward, picked up her son in her arms, and checked his body for signs of injury. Herod was physically fine, but emotionally scared. The mustard outlet stared at him from the corner of the room with darkened, squinted eyes, like a devilish creature ready to strike at whoever may come near it.

The mother walked with her son to the next room, and soon Herod found himself immersed in his Legos. The pain and sensation of the electrical shock were gone now, but their memory would remain with him for a long time after.

A week before his fourteenth birthday, Herod jumped from the window of his bedroom, sixteen feet above the ground. He landed in his mother’s flower garden, then rolled on the ground a few times. His injuries included a broken ankle, two cracked ribs, and a few minor bruises, mostly on his hands. Those physical injuries were not what alarmed his parents. Their concern rested with Herod’s unwillingness to explain the reason for his leap. That, combined with his general gloomy mood in the days leading to his leap was a reason to act. Over the next three months, Herod spent every Tuesday afternoon visiting with Dr. John Wayne, a local child psychologist who came highly recommended by their family doctor. Dr. Wayne had an impressive array of framed diplomas and professional certificates decorating his clinic wall. But unlike the real John Wayne, he was a short and balding man with a voice that was more suited for a young girl than a grown man. Following their 12th meeting,

Dr. Wayne invited Herod’s parents for a final consultation, and informed them that in his professional opinion, their son’s act was experimental rather than suicidal. A type of behavior he described as “something that adolescent boys are sometimes prone to.” Herod was hence cleared to continue freely with his youth.

Herod’s eyes widened. The air pressure on his face pushed his skin up against his cheekbones, forcing his expression into an awkward smile. The earth below him resembled colorful covers on a giant bed. The landscape seemed frozen in place, void of motion and life. A pillar of dark smoke arched in the distance, painting the horizon with a narrow line of disappearing black ink. The line reminded him of Helena’s hair. Dark, long, and wavy.

Throughout their long romance, and even before they realized their feelings toward each other, they loved to explore physical challenges together.

Helena’s room at her parents’ house was larger than his and missing the hanging light fixtures that decorated his ceiling. On one spring afternoon, they were sitting on her bed, working together on their chemistry lab report. While Helena was marking coordinates on graph paper, Herod walked to her large dresser, cleared aside some makeup and climbed ns io is V c on. He leaped into the air and ti is rt A Credit: landed in the middle of the bed, sending Helena and their schoolwork into disarray. The girl screamed. “You crazy dummy! What are you doing!?” Herod grinned at her, exposing his teeth in a teasing smile, and without a word turned to climb back on the dresser. Soon she joined him, and together they spent the next hour challenging each other into the tallest jump, the best air flip, the longest stay in the air. The sound of a car and a door slam outside sent them rushing back to charting pH levels, and by the time Helena’s mother peeked her head into the room, their breath rate was back to normal. The following summer this bed would become a nest for their young love, but their game remained. They became addicted to it, perfecting their mid-air acrobatics. On the last Thursday of their senior year, they were laying on the bed, resting in each other’s arms.

Small drops of sweat were rolling down Helena’s neck, down her breasts, and onto Herod’s chest. “I don’t think we’ll ever outgrow this game,” she whispered. Her eyes narrowed in a thin smile, and she landed her lips on his. The memory of her taste flooded Herod’s body now, and he smiled, matching his expression to the forced smile the air pressure sculpted his face into. He turned and looked down. The ground was closer now. Only a few more seconds, and it will be over.

It has been years since he and Helena parted ways. Their relationship continued on and off during college. In the years following that, they made a couple of attempts at making their relationship work, only to realize it just was not meant to be. Helena moved on with her life with greater ease than Herod, and it took him more than a year following their final breakup to try for a new relationship. He managed to lead a few successful ones since, one even landing him close to the altar. But every once in a while he found himself traveling back to his time with Helena.

Remembering, missing, and wondering. Jumping, even alone, was better than anything else he could think of. It was almost time. He was ready now.

Herod brought his hands together in front of him and on to his chest, as if preparing to pull his heart out. He took a deep breath, closed his eyes, and pulled the ring, as if ripping a bone out of his rib cage. A great force grabbed him, punching at his crouch and chest, and compressing his guts into his bladder. His lungs emptied at once. It was over.

Herod opened his eyes. Bright light shined at him, and he squinted. He raised his hands up over his shoulders, and followed them with his eyes. Dark green lines grew from his body, like perfect stems of a large bouquet of flowers. A white canopy bloomed above him, carrying him down like a large wing. Life had returned to the landscape below. Small cars trailed in a line like busy ants out on a harvest. A train horn sounded from afar. The distant smoke pillar was still visible on the horizon, but Herod turned his attention to the green smoke signal near the landing marker below him. He gathered his ankles together and slightly bent his knees. It was time to land.

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A stroke of genius: Three centuries of Jewish imagination

by AMBER PARTIN Wakara of the Ute tribe. Carvalho was able What do silver tankards, oil portraits, and to persuade Wakara to sit for a portrait urban murals have in common? Besides the which remains a visual reminder of the fact they are all a form of art, they also share peace treaty made between the Mormons a bond in the make-up of their creators. and Ute people. Cavalho’s book, Adventures Myer Myers, Solomon Carvalho and Ben in the Far West, records fascinating experiShahn may not be household names, nor ences and observations during his travels. their work always appreciated and admired Ben Shahn (1898-1969), a 20th century with the same gusto given to some of their painter born in Lithuania, arrived in more famous colleagues, but their contribu- Brooklyn, New York in 1906. His early artistions to America’s history and cultural tic education was mostly lithographic, but in development are of equal importance. They 1924, Shahn traveled abroad with his wife were not only American artists, but proud and studied European artists like Matisse and accomplished Jews. and Picasso. Shahn discovered, however, From its founding day to its present state of abundant, innovative variety, America has passionately welcomed the freedom of artistic expression and embraced both the native and immigrant visionary.

Though art itself may be commonly construed as a mere practice of capturing beauty or providing entertainment in the Land of the Free, it is, in truth, thousands of individual voices, philosophies, and dreams of possibility that have historically and culturally developed the nation in which we now live.

Myer Myers (1723-1795), a Colonial silversmith and goldsmith, was the son of Sephardic immigrants. He created pieces that rivaled Paul Revere’s shining tumblers and teapots. Myers, considered to be one of the most productive and highly-respected silversmiths, produced some of America’s finest silver, ranging from embellished sugar dishes to intricate Torah finials.

According to scholars, Myers’ finials are among the most valued precious metals produced during the 18th century. Unfortunately, his work was temporarily halted in 1776 when Washington made New York his post during the Revolutionary War. While the British began to invade, Myers and his family relocated to Connecticut for the remainder of the war. Despite the personal hardships he suffered during this time, there is evidence that Myers Top: Myer Myers Bowl, ca 1723. Bottom: Solomon remained productive as a silversmith Carvalho’s Incidents of Travel and Aventure in the and devout in his faith. He was active Far West. in his support and leadership of Shearith Israel synagogue until his death at that his passions did not merely lie within the age of seventy-two. Today, Myers’ silver- the colorful renderings of modern art. He smith pieces are displayed in a variety of began to focus his creative efforts on a more academic and artistic institutions; Christie’s realistic stylization and social dialogue. It auctions value a single Myers coffee pot at was from the Social Realism movement that over $100,000.

Shahn created his most powerful work.

The 19th century, with its developments Shahn produced 23 paintings depicting the both culturally and industrially, brought controversial trial of Sacco and Vanzetti, about the talent of Solomon Carvalho two anarchists who were convicted of rob(1815-1897) who was not only a renowned bery and murder and eventually sentenced photographer and painter, but a dedicated to death. The Passion of Sacco and Vanzetti explorer and writer. A Jew of Portuguese was given critical acclaim in 1932. It was this descent, Carvalho was originally trained as a masterpiece that gained the attention of portrait painter, but tested the waters of Diego Rivera, one of the most famous and Wild West travel when he left his native influential painters of the 20th century.

South Carolina and joined John C. Rivera hired Shahn as an assistant in 1933 Fremont’s Rocky Mountain exploration as while he completed the Rockefeller Center the official photographer. The journey was mural. In 1939, Shahn and his wife properilous and Carvalho was forced to leave duced 13 murals based upon Walt some of his expensive camera equipment Whitman’s poem, I See America Working. behind when dangerous snowstorms drove The finished product was installed at the the party into the settlement of Parowan, U.S. Postal Office-Bronx Central Annex.

Utah. Though Fremont would be journey- One of his most well-known and loved poring onward to California, Carvalho, who traits, that being of Martin Luther King, was ill, had to stay behind and recuperate. graced the cover of Time magazine in 1965.

Upon recovery, Carvalho began traveling His death inspired William Schuman to with the Mormons, documenting their reli- compose, In Praise of Shahn, a modern cangious and cultural behavior and even paint- ticle performed by the New York ing a portrait of Brigham Young. He also Philharmonic orchestra. Even in death, attended Young’s peace council with Chief Continued on page 9

March 30, 2012 | The Jewish Press | 9

The tiles that bind

by SHERRIE SAAG four images are combined with Hebrew In Yiddish, a perfect match is called words -- kiddusha, holiness; menucha, rest; “bashert,” a word meaning fate or destiny. The idea has a strong hold within the Jewish community. The word “bashert”, while usually used to refer to one’s soul mate or “perfect match”, can be used to refer to any kind of fortuitous good match, such as finding the perfect job or the perfect house, or, in the case of this story, finding the perfect piece of artwork.

The idea was hatched in Connecticut, at a different Jewish senior home; a dynamic, three dimensional wall of art where residents become “The residents’ tiles now adorning the Blumkin active participants in creating and sus- walls are highly personal artistic creations.” taining the art itself. shalom, peace; and hachma, wisdom.”

The idea traveled to Omaha with Mike Remaining true to the vision of a “dynamSilverman and when the renovations on the ic” wall of art that would include resident Rose Blumkin Jewish Home began, he hoped participation, Cohen devised a system for his idea would find a ‘home” in the Home. framing her four center ceramic pieces with The challenge was finding an artist who tiles designed and made by the residents. could take his vision from the conceptual For Cohen, the biggest challenge was to stage to reality; on the walls of the Blumkin visually tie the elements together so the finHome’s neighborhoods. ished work looks unified and cohesive. She Enter Bonnie Cohen, a ceramic artist from placed magnets on the backs of the resident’s Akron, OH, whose colorful wall installations tiles so they can be moved or changed as featuring Judaic symbols, biblical scenes and needed within the framework of the art Hebrew lettering adorn synagogues and piece. Each new resident creates their own communal facilities around the country. tile artwork and it is displayed on the neighCohen designed a tile sculpture consisting borhood wall where they live. of four 4 ft. by 6 ft. units, one for each of the For Cohen, the principal of hiddur mitzvah Home’s different neighborhoods. “Each -- the sacred obligation to make ritual objects neighborhood will have its own theme,” and special places beautiful -- is central to her Cohen said at the time. “I want the artwork to work. “I believe that if we take the time and be simple, recognizable and meaningful, so I effort to make our environments beautiful, chose a menorah, a kiddush cup, candlesticks they become more meaningful. The Blumkin and a dove with an image of Jerusalem. Those Home residents, by adding their individual

tiles to this project, participate in the commandment of hiddur mitzvah.”

Just as they were originally envisioned, the residents’ tiles now adorning the walls are highly personal artistic creations. They truly reflect the residents of the neighborhoods, just as they were originally conceived to do.

At the time of final installation Cohen stated, “My primary goal was a project that would accommodate every ability level and provide residents with the techniques and inspiration to carry through their ideas. My second goal was to create four beautiful, bright, interesting walls that would have a bold impact from afar and draw people closer to enjoy all the intricate details.

Hopefully, the handmade resident tiles combined with my artwork will have an uplifting, joyful effect on all who live, visit

and work at the Blumkin Home.”

In addition to Maggie Conti and Rabbi Yaakov Weiss, Blumkin Home staff who helped with the tile art included Mary Heiman, Linda Fitzgerald and Adrienne Kitagawa, Activity Directors; Rick France and Mary Ann Blair, Activities Assistants; and Lois Wine, Volunteer Coordinator.

“Visitors stop in their tracks when they see these meaningful additions to the Home,” Conti said. “Each small piece represents a part of the Blumkin community. They truly are living walls.”

What started out as an idea 2000 miles away, became an Omaha Bashert, a perfect match; one that symbolizes the connection between each other, our neighborhoods, and our community.

Ozzie Nogg also contributed to this story.

A stroke of genius Continued from page 8 ry of the country that gladly cradled them.

Shahn was an artist who continued to As Jewish artists, they were a representainspire art. tion of the imporThough Myers, tance of diversity in a Carvalho, and society whose Shahn employed majority practiced exceptionally the Christian faith. diverse means by The young, developwhich to express ing America had themselves and been impacted by establish a living, their touch and had their outcomes were responded with quite similar. Each wonder.

Future Beatitudes ca 1952 by Ben Shahn Americans would artist represented a century that was rapidly evolving toward come to appreciate their country in a very modern culture’s awakening and under- particular way, thanks to the longstanding standing of art. As American artists, they masterpieces of these very different, yet contributed to the rich and beautiful histo- very dedicated artisans.

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10 | The Jewish Press | March 30, 2012

The eye of Annie Leibovitz

by HAL G. SENAL respectively. Due to the latter’s military There are people in this world who are of the career, however, Annie was forced to move belief -- for some, a religious belief -- that your from place to place, all the while sharpening soul is taken when you’re shot by a camera. her creative skills, snapping off photos.

In fact, there are those who believe that As she entered adulthood, she studied at the camera doesn’t just steal your soul, but the San Francisco Art Institute, where she imprisons it!

Well, hey, who am I to argue with that? It could be true. It would be a frightening truth, for sure, as I’m pretty sure there are not only photos of me somewhere on the Internet, but there are some of me doing things that might cause me to -- well, let’s just say I probably wasn’t written in The Book of Life for that year(s).

Adding to that, since we’re talking about soul theft, well, if that’s true, getting your picAbove: Obama family protrait. Right: Annie Leibovitz ture really does steal and imprison the soul, then, wow! I’ve been studied painting, all the while writing and soulless for at least a decade, now. playing music, and, of course, honing her Man, I probably should have made better skills as a photographer. After a steady rotause of my 20’s. Shoot. tion of jobs, she got a gig in Amir, Israel, Then again, if you’re, say, one Annie landing her on a kibbutz for several months.

Leibovitz, one might argue that this famous Soon after, in 1970, she got the coveted (and sometimes infamous -- just ask Miley position of photographer at Rolling Stone Cyrus! And for those of you who are too old magazine. From there, she photographed and “not-with-it” enough to know who that the Rolling Stones in San Francisco in 1971 is, well, I can assure you, in five more min- and 1972, as well as becoming the concertutes, none of us will remember either, so tour photographer for the band’s Tour of the you’re pretty much ahead of the curve, any- Americas ‘75. way!) photographer actually manages to Before we go any further, let’s hit the augment her subjects with more soul than freeze-frame button, for a moment. they sometimes actually warrant.

Most journalists, whether you’re of the But, imagine that, we’re getting ahead of photo variety or the editorial/writing variourselves. ety, usually have a significant moment, early Anna-Lou “Annie” Leibovitz was born in in their careers; each one having their own Waterbury, Connecticut, on October 2, 1949, distinguishing reasons. Those moments the daughter of Marilyn and Sam, a modern tend to either make or break your career. dance instructor and an Air Force Lt. Col., Mine happened to be Tracy Morgan from

Saturday Night Live and 30 Rock. I remember Mr. Morgan because he was -- and if I’m not mistaken, still is -- this profanity-spewing, F-bomb lobbing force of nature and I was this timid little lamb of a journalist (though, to be fair, I can curse among the best of salty sea merchants). To say it was trial by fire would be the Understatement of the Millennium.

But as you continue along in your career, you learn to take these things with a grain of salt and just go with the flow of the interview or, in L e i b o v i t z ’s case, photo shoot.

But I digress.

The only reason I bring this up is because, well, not only did Annie get the opportunity of a lifetime for her first shoot, she most likely will be haunted by it. Whether she looks back fondly upon it is not for anyone to say.

However, if it were me, I don’t know if I could have soldiered on in her line of work.

See, her first Rolling Stone job was capturing that famous shot of a naked John Lennon curled up, clinging to his beloved wife, Yoko Ono. It is considered one of the most powerful, controversial photos ever shot of a celebrity.

That was the good news.

What happened next, well, that’s what made this photo such a bittersweet snapshot in history: A mere five hours after the shoot, John Lennon was shot once more. Except, this time, it was at the hands of a coldblooded killer by the name of Mark David Chapman; and instead, it was a gunshot,

rather than a snapshot.

The beloved musician was shot in the back four times at the entrance of the apartment he and his wife shared in New York.

And so it goes, and so it goes...

From there, Leibovitz’s career became a literal who’s who in the world of politics and show business, bringing her own unique styles -- edgy yet elegant; sexy yet tender; outrageous yet subtle; naked and vulnerable yet empowered and dominating—to her photos.

Who can forget that photo of Demi Moore, naked and pregnant? Well, ok. I try to, but that image is forever seared into my consciousness.

But I guess that’s the point, really. When it comes to Leibovitz’s photos -- okay, let just say it: her art -- it’s not about getting a “quick shot.” When you see a photo by Leibovitz whether it is of a naked Sting, in the desert, covered in mud, Whoopi Goldberg lying in a tub of milk, Lance Armstrong riding his bike in the nude, Bruce Springsteen’s Born In the USA album cover, or even The Who’s Pete Townshend resting the side of his face in his bloody, bandaged hand... the words “cheap” and “tawdry” don’t spring to mind.

It’s not about that. It’s about something more. It’s about showing what’s underneath her subjects.

Her photos show us America -- the world -- at its very best.

Barak and Michelle Obama and their daughters could have easily gone to WalMart for their special Presidential family portrait. Of course, then again, he’d probably get the rep for being the United States’ cheapest President.

Heck, they could have come to me and I could’ve taken a (half-decent) photo.

The President, instead, like so many others before him during her nearly 40-yearContinued on page 11

March 30, 2012 | The Jewish Press | 11

Surrounded by beautiful things

by SYBIL KAPLAN loved it.

Walk through the door at 4 Coresh, the small street off Charlott chose this location because it was just visible from Shlomzion Hamalka and behind the main post office and Jaffa Road. Mainly Arabs came on donkeys and others came take the visitor’s tour. with their crafts to sell.

Displayed on the wall on When the post office was the right are Moroccan brass built, Charlott was not visible Chanukah oil lamps, replicas and was on the street behind of those made in the 18th and the post office, cut off from 19th centuries. On the shelf the mainstream of passersby. below are modern brass Today, Noga has to look for Chanukiot. sources to maintain the spePass by a display of brass cial character of the store, white with flowered ceramic such as items from Persia and and turquoise ceramic hamGeorgia (the former Soviet sas or khamsas, the five-finUnion), from jewelers and gered amulet used decorativeceramicists. ly and in jewelry, said to ward “I feel surrounded by beauoff “the evil eye.” Scattered tiful things that I choose,” among the hamsas are Noga says. “I have one of each Persian and Armenian deco- Noga who now owns the Charlott shop. thing and each one is chosen rative tiles with burgundy flowers and blue birds. Mirrors individually.” Her favorite items are the hamsas from any framed in brass, copper, Armenian tile and wrought iron material from the artists. from Morocco and Persia hang on the same wall.

“People ask why do I only buy things I like. Because I hope Behind you is a showcase with old Persian artifacts.

Moving to the back shelves Jewish women have an historical connection the molten metal into the golden calf. one finds blue and turquoise In Exodus 35:22 when Moses assembled the hand-blown Hebron glass to jewelry and precious stones. In the Book of vases. On the wall above are Proverbs, we read, probably the most famous congregation to bring offerings to the Lord, we pieces of Moroccan and connection between women and jewels when read that they came, both men and women Persian pottery and displays the husband recites the Eshet Chayil poetry to with nose-rings, and earrings, and signet rings all jewels of gold. of off-white and pale blue his wife on Friday evening: In the Book of Ezekiel (16:11-13), we read: I A woman of valor who can find? ceramic and glass necklaces For her price is far above rubies. decked thee also with ornaments and I put from Persia, several thousand Proverbs 31:10 bracelets upon thy hands and a chain on thy years old.

As early as the Book of Genesis (24:22), we neck. And I put a ring upon thy nose and earShelves below hold a variety find Abraham’s servant rings in thine ears. Thus was thou decked with of contemporary decorative sent to find a bride for gold and silver.

The Book of Proverbs is replete with referIsaac. When he finds Rebekah at the well, fill- ences to silver and gold: As an earring of gold and an ornament of fine ing her pitcher, he asks her for water and she gold, so is a wise reprover upon an obedient draws water for his ear.

Throughout Jewish history, women poscamels.

And it came to pass as sessed and wore jewelry which was part of the the camels had done marriage dowry. A bride, in particular, was to drinking, that the man adorn herself beautifully with jewelry from the took a golden ring of groom. half a shekel weight, The marriage ring itself had to be plain and and two bracelets of with no stones, less the bride be misled about gold for her hands of its worth and could possibly mistake colored ten shekels weight of gold; glass for precious stones.

Amulets are “first cousin” to pins and penart pieces such as blood red and said: ‘Whose daughter art thou?’

Later in the same chapter, Abraham’s ser- dants worn by Jews since Biblical times as ceramic pomegranate candle holders and flower candle vant brought forth jewels of silver and jewels of expressions of faith and devotion to G-d. The hamsa or hand, worn by Jews, is an example of holders. Scattered among gold and gave them to Rebekah.

A little further on, jewelry for a man is men- this amulet. Throughout history, the rabbis tried these are old and new Moroccan brass geni lamps, tioned when Pharoah is so pleased with the to discourage the wearing of amulets but Jews brass and wood Havdalah way Joseph has interpreted his dreams, he persisted. It is thought that the Jews of Spain spice boxes and little animals rewards him: And Pharoah took off his signet spread the wearing to Jewish communities ring from his hand and put it upon Joseph’s throughout the world after their 1492 expulsion. of wood, iron and ceramic.

Amulet wearing was virtually unknown in the On the side wall are shelves hand, and arrayed him in vestures of fine linen, holding Persian and and put a gold chain about his neck. (Gen. 19th and 20th centuries except by Sephardic Jews and Jews from Arab countries who lived in Moroccan plates and jugs; 41:42) Jewelry played a negative role when Moses Israel. Amulets of silver, brass, iron, copper and deep blue, turquoise and amber hand-blown Hebron was atop Mount Sinai. Disillusioned and gold were worn by women for general reasons, glass pieces, and Bedouin desirous of a G-d, Aaron listens to the people to promote health, to protect against the evil copper. In the showcases are and then tells them: Break off the golden rings eye, to promote fertility, to prevent a miscarriage mostly bead necklaces and which are in the ears of your wives, of your and to protect a mother and child in childbirth.

Thus jewelry has come to have special sigbracelets, many Moroccan, as sons and of your daughters and bring them well as 2,000-year-old Roman unto me. (Ex.32:2) And we know he fashioned nificance for women. glass jewelry.

As you move to the front window, it’s all right to step on people will like them too.” the beige, blood red and blue rug from Afghanistan. The Charlott is located at 4 Coresh, off Shlomzion Hamalka, front window holds a variety of modern ceramics; old and past Zion Square and behind the Main Post Office. It is open modern ethnic jewelry and beads; pill boxes; little animals; Sunday-Thursday 10 a.m.-1 p.m. and 4-6 p.m.; Friday, 10:30 brass boxes; silver, Persian, enamel and Berber bracelets--all a.m.-1:30 p.m. Phone 6251632 displayed on black burlap. On tables inside in front of the window are hand-painted silk scarves, embroidered cushion covers and Georgian silk table runners with Bedouin embroidery. Other pieces with Palestinian and Druze embroidery sit on the tables.

Continued from page 10 Wood drawers around the room hold more ethnic pins, spanning mosaic of a career, hand-picked Leibovitz. necklaces and earrings.

Why? “People say it’s like a museum,” says Noga Eshed with Well, because, as the saying goes: beauty is in the eye of pride, “only you can touch things.” And one might add, purthe beholder. chase one-of-a-kind items of good taste at Charlott, foundAnd make no mistake: Leibovitz, with her peerless eye ed in 1938 and the oldest gift shop in Jerusalem. for beauty and truth, behind the camera lens is the ultiIsraeli-born Noga began working in the shop in 1976. As mate beholder.

Charlott began to decline, Noga decided to buy the store so Her eyes are that of the world’s reflection. it would not go back to its original owner and because she

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Nature and life experience provide inspiration

by GLORIA SHUKERT JONES Art enhances daily living and I believe in creating artwork that is both fun/beautiful and functional, because everyone has the right to surround themselves with what they consider is art. The above quote is the artist statement by Beth Brown Gershovich Beth Brown Gershovich creates beautiful costume jewelry and home décor from fused glass, which she uses in a variety of brilliant colors and shapes. I have purchased a couple of her pieces at Beth Israel Sisterhood luncheons, which occasionally give local artists the opportunity to sell their handiwork at their events. Beth also sells her items at the Joslyn Art Museum’s gift shop, on display to attract prospective buyers who frequent the Museum, and various groups that tour the facility. She has sold at the Joslyn for quite a long time.

Beth is vivacious, and her enthusiasm for her work and her life in general, knows no bounds.

She is cheerful, upbeat and optimistic, and I enjoyed getting to know her. Beth is a native Omahan, and I have known her mother, Phyllis Brown, since we attended Central High School and UNL at the same time and roomed together at the university. Beth’s father is Elliot Brown, whom I have interviewed on several occasions in connection with his participation in a diabetes research study in Boston, Massachusetts, and profiled some members of the long-standing poker club he belongs to, when the Press did a theme on Jewish clubs and organizations for its Passover issue several years ago.

Beth attended Burke High, and this, she explains, is because her parents moved to West Omaha. She has one brother, Michael, who went to Brownell-Talbot.

She gets some inspiration from the people in her life.

“Look at this,” she said; showing me one of her colorful magnetic brooches of a cat face, “The cat’s expression reminds me of my uncle. My husband and I are owned by two cats,” Beth said, “and have taken on some of our personality traits. However, I love all animals.”

Beth started out by making jewelry out of beads. “Beaded jewelry became so popular, and there was so much low-quality stuff, that people weren’t able to appreciate the true value,” she observed. “In 2002, I took my first class in fused glass. In 2003 I took another class at Adventure in Art, Kristi Pederson, the owner and chief instructor at Adventure in Art taught the class so well, I got hooked on fusing.”

When I first started creating in this new medium, it was a challenge,’ she continued,

but my strong desire to do fused glass art, overshadowed any obstacle. Often I can visualize what I can make, then sketch it. My work just keeps evolving, which is important to keep ideas fresh. What I did last year is different from what I’m doing this year.

With so many glass artists in Omaha, it is important to carve out my own niche.”

Beth indicated she owes her success to her mother, who really encouraged her creativity along the way. “She always sent me to Omaha’s Summer Day Camp program,” Beth recalled. “She knew I loved doing arts and crafts, and made sure I got to do this. It was the highlight of my summers. She recognized my originality, and really encouraged me to follow the beat of my own drummer, instead of the crowd; and to celebrate my whimsy

and childlike wonder of the world, which both my parents possess, thankfully.” Her father taught her how to enjoy working with people and the importance of providing good customer service.

Those are important tools when it comes to marketing her artwork.

Beth said she started doing art in 1998. “I didn’t like the jewelry in the stores, so I decided to do my own.” And now she has a variety of different venues for selling her jewelry.

“In 2004, I really got the fusing technique down well enough to start selling it. I have both a website and Facebook page (BBG Artistry). Also, I sell my art at the Farmer’s Market at Ak-Sar-Ben. When you’re doing things, especially with the very competitive glass art community, it is important to develop your own style that people can automatically identify.”

S h e further indicated she was inspired by the success of Anne Nye, former owner of The Blue Pomegranate, located at 66th and Maple Street, in Benson. “Anne has become famous for establishing her own beautiful style of fused glass art, which she now sells nationally. She got so busy with orders from galleries all over the United States that she had to turn over her ownership of the gallery.

She now has a large studio and employs two other artists; but still sells her work at the Blue Pomegranate. When I was in San Diego I remember walking into a very nice upscale art gallery, and seeing her artwork in the window, which amazed me!”

Continued on page 15

March 30, 2012 | The Jewish Press | 13

Where art meets science, part I: Naava Naslavsky

by ANNETTE VAN DE KAMP-WRIGHT Editor of the Jewish Press When we think of artists, we often have a quite rigid image in mind. Artists are ruled by emotion, they are passionate, and often a bit disorganized (for which they should be immediately forgiven, as long as they make beautiful things). They are bad at math and taxes, not scientific, but singularly focused on the creative process. Naava Naslavsky (that’s Doctor Naava to you), who is both an accomplished scientist and an artist, can dispel that notion in about five minutes.

Naava is married to Steve Caplan (see page 19 for his equally compelling story); together they are parents of Mika and Eylon.

Describe your day job for those of us who have never seen the inside of a lab except on CSI...

I am a cell biologist at the University of Nebraska Medical Center (UNMC). I conduct studies of the human cell in normal and abnormal conditions. It is called “Basic Research” which means, studying basic processes, upon which, at later phases, further studies can be built and geared towards clinical (translational) directions. Our studies incorporate biochemistry, genetics, molecular biology and immunology and use advanced microscopy as a common technique. In a nutshell, we study transport of different receptors within the cell. A normal and efficient transport machinery is vital to cell function because nutrients or hormones or drugs that enter the cell will only function if they reach the “right” organelle, meaning the right destination inside the cell. Since the cell is like a small “cosmos” in molecular-scale – accurate transportation in this “huge” body is a complex task and energy demanding for the cell. Wrong transportation would culminate in diseases as broad as heart failure, cancer, obesity, lipid deposition, AIDS, Alzheimer’s, etc.

When did you come to America? Can you talk a little about your journey?

I came to the US for a postdoctoral fellowship at the National Institutes of Health (NIH) in Washington DC 13 years ago. Before that I did my bachelor degree in biology in Haifa, then moved to Jerusalem to the Hebrew University Medical School to complete my masters in immunology, then PhD degree in Cell Biology. It takes many years of studying to reach certain expertise in the field of scientific research, and the good thing is that we are still in the process of learning all the time! Each day the lab is different than the day before, it is dynamic and variable. While we scientists have to act within budgets and funding limitations, we enjoy in full the “academic freedom” to investigate what we think is important.

How does your artistic side complement your scientific side?

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process at all. These are probably the neurons that relate to color, shape, movement etc. It’s as if the artistic side of the brain is taking “shifts” with the scientific-logic one, alternating between working-hours and artistic-hours. They may live in the same “neighborhood” in the brain, but would operate entirely differently. Yet, you may notice that I have not mentioned creativity!

Love of my life by Naava Naslavsky One of the biggest myths about scientists is their assumed lack of creativity. That’s far from the reality. There is a sophisticated kind of creativity that you need as a scientist to tackle a problem and find a strategy to approach a scientific unknown. I would even argue that scientists can be quite artistic, if only they had the time to dedicate to art, but science is so demanding, who knows how many great artists we are missing... take for instance a group of scientists, of all disciplines, who got together under one roof, a website called Occam’s typewriter (http://occamstypewriter.org/) to share their love of literature and other non-scientific interests.

Can you describe your art in 3 sentences or less?

I make sculptures of paper maché. They are almost exclusively people and invariably funny! I like to bring together art and humor. Though it is an unusual “match” – it is, nevertheless, a joy to make... people who see my works smile. I love that.

I use recycled paper (printed paper from manuscripts that

we read and publish – all end up in my shredder, so literally: science transforms into a piece of art). Paper maché was my “poor-man’s-choice”: I needed to create “terribly” but had neither tools nor machinery, or raw material and what’s more: I didn’t feel entitled to spend money in my “artistic endeavor”. That is how it all started 2 years ago.

Do you think creating is a form of communicating?

No, I am not trying to communicate through my art, and do not have any important “message” to transmit. Instead I look for ways to ascertain that life is good, full of joy and funny moments. We just need to look around and see the small but good/funny people that surround us. Humor is healthy, humor with sympathy – even healthier!

Where can we see your art next?

A couple of years ago I joined a lovely art gallery here in Omaha called Blue Pomegranate (http://www.bluepom. com/), which displays my works all year. Occasionally I participate in local art shows. I also belong to a professional artists website (though I DO NOT consider myself a professional artist), which connects artists with gallery owners in the US and Canada.

What (or who) inspires you?

People around me, family members, colleagues, people who mean well. My eyes, especially, catch the exaggerated people: over-dressed, obsessed, over-weight, etc. I am also inspired by people who dedicate themselves to something they love, such as music, science, knitting, painting, hiking, etc.

Do you think everybody has an artistic side?

I think that many of us are more creative than we think, but don’t always find ways to “channel” this creativity and “make it happen.” I personally am less impressed by artists but am captivated by those individuals who truly love and appreciate art.

Does where you were born, and where you live now, influence your art? How? I am, by all means, influenced by the art and approach to art that I saw all my life in Israel. Now, Israel takes pride in its hi-tech achievements, start-ups and scientific-medical levels, but it is crystal-clear that Israeli art is skyrocketing in its advancement, sophistication and creativity. With all honesty, I never saw a country (and I’ve been to many continents) with such an “explosion” of good art. And I mean all sorts of art; dance, music, literature, theater, movie, plastic arts, jewelry and more. Just an example: do you know how many paper maché artists there are in Israel??? Hundreds…

Do you consider your artwork Jewish? What do you think makes artwork ‘Jewish’?

I wish I did! I make small pieces with Jewish themes and that is to satisfy my own needs. I wish I could “adopt” that niche, where I would feel completely “at home”, but the audience in Omaha is too small and the opportunities to showcase at our Jewish community are limited.

Continued on page 15

14 | The Jewish Press | March 30, 2012

A Jew plus a violin equals hope

by OZZIE NOGG One artist cuts shapes from sheet metal and welds them into mobiles. Another combines found objects and fiber to create collage. Still others coax the human torso from stone, throw clay on a wheel, apply ink to printing plates or capture images on film.

Amnon Weinsteinâ&#x20AC;&#x2122;s chosen art form is the violin.

Weinstein, an Israeli, holds scores of international medals and prizes for the sound of the violin as well as for the construction of string instruments. In 2007, he was awarded the Ole Bull Prize, named for the great Norwegian musician who inspired Edvard Grieg. The prize recognizes Weinsteinâ&#x20AC;&#x2122;s continued dedication to his work and his unique passion for the violin, this â&#x20AC;&#x2DC;instrument of magic.â&#x20AC;&#x2122; Especially for a few dozen violins magically rescued from the Holocaust. These instruments are the soul of Weinsteinâ&#x20AC;&#x2122;s project, Violins of Hope. â&#x20AC;&#x153;The Germans confiscated from the Jewish people every violin, viola, cello they could and we are talking about thousands, gone with the wind,â&#x20AC;? Weinstein told CNN. â&#x20AC;&#x153;Almost all the survivors who played in the concentration camps owed their lives to their instruments. The Germans needed them, to cheat the Jewish people. In the camps, if somebody was playing the violin nobody would think the next door was a gas chamber. That was the plan of these horrible people.â&#x20AC;? Weinstein himself lost almost two hundred members of his family during the Shoah.

Fortunately, not all of these precious

instruments were destroyed. For two decades, Weinstein scoured warehouses, antique markets, violin shops and appealed on the radio for lost instruments. And slowly, they surfaced -- from cob-webbed attics

Credit: jamesagrymes.com and musty trunks, from people for whom the violins held only tragic memories.

Eventually Weinstein accumulated and restored more than twenty-six severely damaged violins that had been played by Jews in the ghettos, camps and forests during the Holocaust. â&#x20AC;&#x153;I seek out the remaining sliver of culture,â&#x20AC;? Weinstein explains. â&#x20AC;&#x153;Dusty violins in thousands of pieces, and I renew their lives as I repair and renovate them, piecing them together and cleaning them so that they may play their lively tunes once again.â&#x20AC;?

Weinstein sees the violins as a memorial to the musicians who once played the instruments but were silenced by the Nazis. â&#x20AC;&#x153;I made the decision to make a concert instru-

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ment out of each one. If you have very good ears and you are listening, itâ&#x20AC;&#x2122;s unbelievable what you can hear when these violins are played. You can hear the suffering.â&#x20AC;?

According to Weinstein, repairing the violins is difficult on an emotional level rather than a technical one. In the early 1980s, a survivor from the Auschwitz Menâ&#x20AC;&#x2122;s Orchestra visited his shop and asked him to repair a violin for his grandson. When Amnon opened the instrument, he found ashes inside -- presumably fallout from the crematoria. â&#x20AC;&#x153;This was the beginning for me, but I did not want to touch this kind of thing at the time,â&#x20AC;? he confesses. â&#x20AC;&#x153;It was too difficult. But when you touch a violin like the one that was at Auschwitz, you understand its history. This is my mission in terms of memory. Everyone must understand that what happened during the Holocaust mustnâ&#x20AC;&#x2122;t happen again.â&#x20AC;?

The most celebrated of Weinsteinâ&#x20AC;&#x2122;s violins seemed unremarkable at first sight -- a German-made violin in a battered case. â&#x20AC;&#x153;It was a common instrument for all the Jewish people,â&#x20AC;? Weinstein said. â&#x20AC;&#x153;Simple, not expensive, nothing special.â&#x20AC;? The instrument -dubbed â&#x20AC;&#x153;Moteleâ&#x20AC;&#x2122;s violinâ&#x20AC;? -- belonged to 12year old Mordechai Motele Schlein. After witnessing the murder of his parents and sister, young Motele, with his violin, joined a Jewish resistance brigade in a village near the Ukrainian border. â&#x20AC;&#x153;The German officers heard him play in the streets one day and brought him to perform during dinner in their favorite restaurant in town,â&#x20AC;? said Sefi Hanegbi, whose father played alongside Motele in a partisan camp in the forest.

According to Hanegbi, each night after his performance, Motele hid his violin in the restaurant, walked out with an empty case, and returned the next day with the violin

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case full of explosives which he shoved in the cellar walls. One evening, when high-ranking S.S. officers arrived at the restaurant, Motele blew up the building, killing everyone inside. Surviving resistance fighters reported that when Motele rejoined his fellow partisans in the forest, he raised a clenched fist to heaven and said, â&#x20AC;&#x153;This is for my parents and little Bashiale.â&#x20AC;? Motele was fourteen when he died in a German ambush, and Hanegbiâ&#x20AC;&#x2122;s family brought his violin to Israel where it sat in a closet for decades until they turned it over to Amnon Weinstein.

After Weinstein completed restoration work on the violin, it was donated to the Holocaust History Museum at Yad Vashem with the stipulation that it be available for performances. In April of 2009, sixteen-year old David Strongin played Moteleâ&#x20AC;&#x2122;s violin during Holocaust Martyrsâ&#x20AC;&#x2122; and Heroesâ&#x20AC;&#x2122; Remembrance Day. When asked what these rescued instruments tell us, Weinstein replied, â&#x20AC;&#x153;We only have photos of the victims, not their voices. These violins are the voices of the victims. Six million victims.â&#x20AC;?

Israeli virtuoso Shlomo Mintz was just four years old when he first walked into Amnon Weinsteinâ&#x20AC;&#x2122;s workshop. Today, the men share a friendship and a mission that is captured in Amnonâ&#x20AC;&#x2122;s Journey, a documentary by Jean-Marie Hosatte. The film shows Weinstein in Vilna, Lithuania, in the Ponar forest, where his family members were massacred. We see the two men at Auschwitz where Weinstein says Kaddish in the crematoria and Mintz plays a niggun on one of the Violins of Hope while standing in the exact spot where the Auschwitz Menâ&#x20AC;&#x2122;s Orchestra accompanied prisoners with music on their march to death. The documentary concludes with the historic 2008 concert at the Continued on page 15

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Beth Brown Gershovich Continued from page 12 Beth commented that she never thought she would be able to use a power tool, which is necessary to cut out shapes of glass. However, she was able to master that skill. I guess it goes to show that you can do anything you put your mind to, especially if it is essential to your line of work. This innovative young lady indicated she is presently in the process of finding new ways to market her work to art galleries throughout the United States.

It is apparent that Beth is not letting any grass grow under her feet. She is very ambitious as well as innoBeth Brown Gershovich vative, and anyone who is trying to promote a business venture needs as much media exposure as possible in whatever field they’re interested in.

Beth is married to Moshe Gershovich, a professor of Middle East Studies at UNO, and is also affiliated with The Schwalb Center for Israel and Jewish Studies. Although Beth is very outgoing, she is currently not affiliated with any social clubs or a synagogue, but is a member of B’nai Brith, and works part time for that organization.

Speaking of her younger brother, Michael, who lives in Philadelphia: “He’s a fantastic doctor who really cares for each of his patients and does not try to rush them through their appointments. Michael attended Brown University and its medical school. We’re very close, and try to see each other at least once a year.”

Beth formerly worked at the Nebraska Humane Society, and says, “Animals have always been a passion for me. I worked there for seven and a half years. And then I ran one in Hailey, Idaho for nine months. When running a small animal shelter, you have to do everything. Although my background was in fundraising, marketing and public relations, I learned a lot about keeping kennels clean, giving vaccinations, watching surgeries; and am glad I learned a lot

about the veterinary side.” Since she was a child she has always been fascinated with animals, and it is reflected in her artwork.

One of her favorite animal organizations is in Philadelphia, called Kitty Cottage. “It is a large three-story house that has been converted into a cage-free, no-kill cat shelter. There you will find cats sitting on the furniture, their perches or sunning themselves. I’ve got to go there every time I go to Philadelphia. I’m just in love with the place,” she observed.

Beth commented she’s always been intrigued by the Hamsa symbol ever since she could remember. She sent me a picture on my Facebook page of some of the Hamsas she’s created from the fused glass, and I was amazed at the colors and versatility of the designs displayed. “I wasn’t as interested in wearing the Stars of David, or Mezzuzahs, but I have always been drawn to the hamsas. This symbol has been around since way before monotheistic religions emerged. It has always been considered a symbol of protection,” she said,” and I collect them from all over the world.”

Physical activity (dancing is her favorite) is another one of Beth’s passions, as she feels a sound body is necessary for her creative process. “It’s like clearing your head for new ideas.”

She works out regularly at a local health club and enjoys taking Zumba classes.

As for art in general, Beth says that back when she was going to school, art teachers were very rigid. “If you couldn’t draw a still life, your talents were basically ignored. This inhibited my creativity because it was more important to be able to draw, which I found boring. So I lost interest in it for a long time, because of it,” she stated, and added, “There aren’t many of those old-style art teachers left today.” We both agreed that everything was pretty uptight in those days.

Finally, Beth revealed that she’s inspired by life experiences, people she knows, and Nature. However, she emphasized, it’s the kind of Nature most people don’t think about.

“I’m inspired by the things you see in Outer Space, like nebulae, quasars, planets and skyscapes. My fantasy is to one day travel in Outer Space.”

And knowing what I learned about this versatile artist, if there is any way possible, someday she may literally be able to reach for the stars, come back down to earth and create a whole new line of celestial artwork.

Naava Naslavsky working clothes, all-year-long sandals (or bare-feet), doing Continued from page 13 What do you think the biggest differences are between things that only “kibbutznikim” do...

I am also intrigued by old ladies who maintain their Israeli and American artists?

Oy... don’t take me there. I don’t want to compare. I’d high spirits, and are (often times) oblivious of their present look; I’d like to let them do rather speak for myself: in my unexpected things (like being a annual visits to Israel I look forballerina, or sing their lungs ward to seeing galleries and art out). shows, it is as though they were Why do you think we often conspeaking “my language” – I sider a scientific brain incomunderstand and connect well to patible with the artistic brain? the various Israeli arts that I see.

Do you think that is unfair, and I feel “at bay.” I am struck over if so, why? and over again by the level of Yes, society does tend to sepaenergy and the sweeping crerate the scientific and artistic ativity that I find in Israeli art. brain, but don’t forget that sciPerhaps it is surprising for such entists are by nature curious a small state. people, and while they may not Which piece of art have you be engaged directly with art – never made, that you would many may hold true interest in like to one day accomplish? the arts because it challenges I never made any sculpture the brain in a different manner. describing people from my Plus, scientists highly appreciroots and home: the kibbutz. If I Naava Naslavsky holding an enthusiast scientist. ate extraordinary abilities of were to live in a perfect world, I’d make a series of “kibbutznikim” (plural of kibbutznik) others, and hold high respect for people who excel in a difwith a million hilarious looks, posing in their navy-blue ferent mode of creativity.

A Jew plus a violin equals hope Continued from page 14 spot-lit walls of Jerusalem’s Old City where thousands gathered to hear Shlomo Mintz play Avinu Malkeinu on one of Weinstein’s resurrected violins. Sixteen Violins of Hope ended the concert with a moving rendition of Hatikvah. The Hope. “Shlomo has been escorting me from day one,” Weinstein says. “At Auschwitz he played one of the most important violins I have. It’s decorated with five Stars of David, something you don’t see every day. I received it in a nylon bag; it was in pieces. The musician had been forced to play in the rain, a violin’s worst enemy.

The restoration took one and a half years. Each violin has its own story to tell.”

The Violins of Hope project has taken over Weinstein’s life. “I’m trying to find out the complete history of these violins. I look for documents, photos -- it never stops. But

above all they have to be played. One must hear their tone, which tells a story, a quality. This mausoleum of sound made by the violins is also a mausoleum for my family,” says the 73-year old Weinstein. “Music accompanied every moment of the prisoners’ wretched routine. During the interminable roll calls, executions and torture sessions, separating those arriving by train, orchestras would indefatigably play jolly tunes. Wherever there were Jews, there were violins. Wherever there were violins, there was hope. The people who played these violins in the ghettos or camps didn’t play on them afterwards. They couldn’t. I’ll continue to renovate these violins for as long as my hands let me.”

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by HAL G. SENAL senseless, hatred of his kind.

Are we men... or are we mice?

It is truly a testament to Spiegelman’s stoThat may be one of the oldest questions rytelling and artistic craft that those of us in the book: What makes a man? Who or who have had the privilege of reading this what gives us the will to live, to survive? “comic book” were able to buy his (well, Is it learned? Is it instinctual? What sep- technically, his father’s) story of Jewish arates the strong from the weak? mice being brutally executed by Nazi cats Well if you share the opinion of comic and Polish pigs, while also finding the will book writer and artist Art Spiegelman, to survive, hook, line, and sinker. author of the Pulitzer Prizewinning Holocaust graphic novel epic, Maus, sometimes mice can rise to become men.

There are people, out there -- smart, ostentatious people -- that will tell you that soand-so revolutionized the comic book world. The snobs will throw around such highfalutin words as “literature,” “masterpiece,” “magnum opus,” and “limn” (well that last one is Kakutani-only, but still... if you ask me, no one has the right to use a word no one else in this universe uses!)

But truly, if you are a reader of comic books, fiction, novels, biographies, all of these things -- you’ll know that, frame for frame, Spiegelman managed to singlehandedly (no pun intended) cause what some might consider the evolution of comic books, graphic novel... whatever you want to call Of course, the scariest them... into something that part is the fact that, take could only be described as away the whiskers, the high art. tail, and floppy ears, and In each frame, and with you realize that the story only a few strokes of a pen, on the page is true. Maus Spiegelman managed to is not, in any way, shape, show us something new that or form a work of fiction; had already been depicted it is a warts-and-all countless times, through the chronical of Spiegelman’s use of other mediums father and mother, Polish including, yes, books, but Jews Vladek Spiegelman also movies, radio, and teleand Anja Spiegelman. vision.

Vladek died in 1982 and Somehow, the Jewish carhis beloved wife, Anja toonist and writer managed committed suicide in to break free of such ordi1968. Their story of nary bonds to create his own courage and survival is Art Spiegelman creature; something that just one of too many to allowed us, forced us, to pay attention to count. Yet, Spiegelman, who was born in and read, cover to cover, with a newfound Sweden in 1948 and raised in Queens, has sense of horror and sadness, something given this world something that, I believe, we’d, unfortunately, grown somewhat would have made his parents and six-milnumb in reading about or viewing on lion other souls proud. screens both big and small.

In addition to his award-winning Maus, Yet, just like any true artist should, his Spiegelman helped design what was voted depiction of the Holocaust (i.e. through the as sixth-place in the top 10 of magazine storytelling convention of a father telling his covers of the past 40 years by the American story to his son) allowed the world to view Society of Magazine Editors. this unforgettable story of genocide and Just like his work in Maus, its imagery survival through a brand new set of eyes. depicts yet another one of history’s most Oh, and did I mention the characters shocking and dark moments—except this were mice (the Jews), cats (the Nazis), and time, the picture is much closer to home. pigs (the Polish)?

Published in The New Yorker on Sept. 24, Just like George Orwell (he of the 1945 2001, the cover is a barely visible silhouette allegory “Animal Farm”) before him, he of the Twin Towers of The World Trade painted—er—drew a portrait we had never Center. seen or probably never thought we would He resigned from The New Yorker a few see, through the use of animals. Let’s face it: months later, after the towers crumbled to it could have been a disaster, a folly of hor- Ground Zero. rifically tasteless proportions (can’t you just Since then, he’s published more comics, hear the publisher’s shouting, “you want to more essays, but most recently, he returned portray Jews during the Holocaust as to the treasure that is still celebrated all WHAT?! Rats?! Oh. Oh!! Mice!! Well, okay around the world with MetaMaus: A Look then. Phew! Ya almost had me there, Inside a Modern Classic, Maus.

Arty!”). Instead, Spiegelman’s gift to us was According to a recent press release, generous with its emotion, filled with Spiegelman’s book took the prize in the poignancy and pathos, wide in scope, and Biography, Autobiography, and Memoir heartbreaking in its unflinching vision of a category of the National Jewish Book father unspooling the thread of history to Awards. his son, explaining with painful vividness, Yes, something tells me his papa would the worst years of his life, facing the most be proud. loathsome of evil: pure, unadulterated, I know that we are.

March 30, 2012 | The Jewish Press | 17

A visit to Paris

by MASADA SIEGEL A smartly dressed woman at the Four Seasons Hotel in Paris asked if I needed help finding my room. I shook my head, and found my own way. When I opened the door, I saw it was filled with lavender roses and had a balcony with a view of the skyline.

Starving, I made my way down to Le Cinq, the hotel’s Michelin-rated restaurant. It is dreamy both in décor and in the delicious factor.

I indulged in flaky croissants, cappuccino and a plethora of mouth-watering breakfast foods.

I pinched myself. It was November, the sun was shining and I was walking down the Champs Élysées heading toward the Louvre.

One of the charms of Paris is the fabulous art: from the grand structures such as the Eiffel Tower to the tiny pieces of chocolate in the candy stores. Details are not overlooked, and perhaps that’s one of the reasons Paris is so magical.

Yellow and orange leaves lined the grounds of the Tuilleries Gardens. Partway through the park, on rue de Rivolli, is the Le Meurice Hotel, a perfect place for a coffee or a drink, as the bartender has concocted thousands for his customers.

He reads people well; my special drink was a non-alcoholic tropical fruit. It was so delicious that I indulged in two!

After mixing with the glamorous people, I put on my walking shoes, as inside the Tuilleries Gardens is the Orangerie Clockwise from top left: Nissim de Camondo Museum, a French Museum. It is small but boasts two rooms filled with Jewish bakery and the view from top of the Eiffel Tower.

Monet’s paintings of water lilies.

I spent the day wandering, and eventually found my way videos make the obvious clear. to the Notre Dame Cathedral.

On a happier note, the Museum of Jewish Art and History Behind it is the Memorial to the Martyrs of the Deportation, was filled with interesting Judaica. It was fascinating to read a place of remembrance of those deported to concentration about French Jewish history, especially the Dreyfus Affair camps during World War II. It is across rue de l’Archevêché, (1894-1900), and its impact on the creation of the State of near square de l’Île de France. A small gate leads to a memo- Israel. Exhibits also include works by Paris-based Jewish rial to an unknown World War II deportee. Inside are names artists Chagall, Modigliani and Soutine. Even the building of the German death camps, where 200,000 French men, where the museum is housed, in the 17th-century Hôtel De women and children, Jews and Christians, were murdered.

St-Aignan, has its own Jewish history and connections.

My feet led me to the city’s most famous Jewish neighborA few days into my adventure, I switched hotels from the hood, the Marais; it is known as the Pletzl – Yiddish for “lit- elegant Four Seasons to the Hotel Fouquet’s Barrière, locattle place.” This district has been home to Jewish people on ed on the Champs Élysées, It has a modern décor, but with and off since the 13th century. Today, it is one of the city’s old-school sensibilities, as now I had my own private butler, most fashionable quarters. There is a large Jewish popula- so that almost every wish I had could be granted. tion and there has been one for nearly 100 years now.

The Hotel Fouquet’s dedication to detail was fabulously I couldn’t help but stop for a falafel on rue des Rosiers. The outrageous. Before my arrival, I filled out a questionnaire line was down the block on both sides, and needless to say, that asked me the types of flowers I liked, chocolate, drinks, it was one of the best falafels I have eaten outside of Israel. and even the type of bed and pillows I preferred.

The bakeries also demand attention, and one that found One of Paris’s best-kept secrets for fine dining is a restaurant my favor was Korcarz, opened by Polish Holocaust survivors inside Fouquet’s, Le Diane. It’s elegant, discreet, and it’s like in 1948. The variety of pastries there was endless, from the being in a James Bond movie – use your passkey to unlock mouth-watering Hungarian dessert dobosh (cream-filled doors inside the hotel that will lead you to a culinary delight. cake) and baklava to cheesecake and apple strudel.

The service is superior and the food spectacular, from the Time well spent was at the Shoah Memorial, which is free. mouth-watering entrees to the desserts, the presentation, Much of the tour I took was in French, but the pictures and design and, most importantly, the taste. Chef Jean-Yves

L e u r a n g u e r ’s restaurant is not yet Michelin rated, so it’s best to go now, before it’s impossible to book a table.

Paris by day is filled with aromas of crepes and cupcake shops.

The city is home to dazzling works of art, especially at the Musée d’Art Moderne de la Ville de Paris, which is housed in the eastern wing of the Palais de Tokyo.

For hours, I marveled at the beauty and got lost in the phenomenal art of Pablo Picasso, Henri Matisse, Chaïm Soutine and Mark Chagall.

A painting by Raoul Dufy, called The Fairy Electricity, is one of the biggest in the world at 600 square meters. It fills an enormous room and is about the story of electricity over time.

The painting was created to decorate the interior of the Palace of Light and Electricity at the 1937 International Exposition.

It’s truly a masterpiece and also happens to be fun to see.

The museum houses thousands of works of art and is free, although there is an entrance fee for special exhibits. Paris by night is very romantic, and one of the best ways to experience it is by a Bateaux evening boat cruise. Gliding down the Seine, you will see the Eiffel Tower, the French Statue of Liberty, Notre Dame and many other major sights visible from the river.

During the three-hour adventure, sexy singers will croon to you at your table, you can enjoy delightful food, and a fantastic photographer will record the magic of the night at your table, and even outside with Parisian icons, if you ask.

The boat cruise is a definite must, and while it’s always nice to have great weather, strangely the light rain we experienced on the cruise only made it more enchanting.

Paris is a city for lovers, food lovers that is, and the choices are endless.

For traditional French food, try Astier, a bistro. It’s a place to rub shoulders with the locals, and it’s known for its love of tradition and over-the-top cheese plates. Chez Paul, on rue de Lappe in the Bastille area, is also an excellent choice. But if glamour is more your style and you are looking to see and be seen, I suggest the Le Relais, a chic restaurant with an elegant but relaxed atmosphere.

A brasserie inside the luxurious Plaza Athénée Hotel, Le Relais features mouth-watering entrees and has excellent service. The hotel is opulent but modern. Be sure to check out the bar. It’s a cosy place for an after dinner drink.

Continued on page 19

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Hundertwasser – Rediscovering Jewish artists

by OLIVER B. POLLAK Antoni Gaudi? Was it his beautifying the urban Shortly after arriving in Omaha in August 1974, scene, painting buildings, much as Agam has done? the UNO Provost and Vice Chancellor Herbert For 34 years Friedensreich Hundertwasser has Garfinkel’s artist wife, Evelyn, introduced us to Bob adorned our house. Our children were raised with and Roberta Rogers. They were the proprietors of Hundertwasser and Van Gogh in their bedrooms.

Gallery 72 on Leavenworth Street. We needed to Now they have their own homes and families and frame the 29 by 42 inch print Polyzig by London Hundertwasser adorns their walls. At a University artist Geoffrey Brunell, which I had purchased at of Nebraska at Omaha Friends of Art 1995 the Royal Academy of Art on my way from Favorites Invitational we displayed Hundertwasser.

Zimbabwe to America. So started a three decadeI don’t recall any Jewish connection in his famplus collaborative and educative friendship. ily background or his artistic imagery. Reading Bob and Roberta had retired from their Evan Burr Bukey’s Jews and Intermarriage in Nazi Dunkin Doughnuts franchise and became misAustria (2011) revealed that his mother was sionaries for the visual arts. They had about half Jewish and his father Catholic. Born in 1928, he a dozen openings a year. The receptions included was named Friedrich Stowasser. His father Ernst wine, seasoned chex mix, and Roberta’s chocolate died in 1929. chip cookies. Potlucks accompanied artist visits.

Hundertwasser “recalled how he fended off SS Toward the end of the year Bob showed affordofficers as a smartly dressed member of the able posters and calendars. In December 1976 we Hitler Youth while his widowed mother proceedBarbarakirche by F. Hundertwasser Red Streets By F. Hundertwasser purchased a 24 by 20 inch Hundertwasser calened through the market stalls as a pariah.” He statCredit: Ewald Tinnacher Credit: writedesignonline.com ed, “While my mother went shopping with a dar for 1977.

We have kept our calendars and date books since high and feeling grandiose, we also purchased large gold hoop Yellow Star, I ran around with a swastika.” school in the early 1960s. The palest ink is more reliable than earrings, which Karen rarely wears, and a Makin maroon In 1943, 69 family members on his mother’s side were our memory. We reconstruct where we were, awed by what fedora which I left some winters later at the Bohemian Café, deported to Eastern Europe where they met their death. we forgot. The calendars come from the Israel Museum in never to be seen again.

Stowasser changed his name to Friedenreich We liked his name, “hundred waters.” His 1972 Munich Hundertwasser, which means “kingdom of peace, hundred Jerusalem, United Synagogue of Conservative Judaism, Jewish Museum in Prague, Skirball Cultural Center, Jewish Olympics posters shimmered with energy. We purchased waters,” in 1949. His mother Elsa died in 1972. postcards, a 1983 calendar and four books, two published in War Veterans of the USA, Chabad, and B’nai B’rith.

There is nothing particularly Jewish about Many of our acquisitions once hung in Gallery 72, many 1973 and one each from 1983 and 1995, and three posters, Hundertwasser’s images, though there are three telling titles, more were framed by Bob. They had a friendly and interest- Eating Fishes and Bicyclists, Regentag (his boat), and an early 1950s portrait, Moroccan Jewess, perhaps The Two free payment plan. We bought what we liked, sometimes Conservation which hang in bedrooms and hallways.

Sinais (1957), and his early 1960s Jew’s House inVienna.

My college roommate Beryl Weiner and I share similar after thoughtfully revisiting the piece, other times on the Hundertwasser, a visionary, wanted his art to infuse color exploratory visions of art. Hundertwasser hung in his home and life into a damaged world, to “improve the world and spur of the moment, hardly ever regretting our choice.

I taught at UCLA in 1977-78, visited galleries and muse- as well. On a bar mitzvah trip to Omaha, we visited the make it more beautiful.” His most remarkable work of politums and other Southern California attractions including Kutak Rock collection, curated by Bob Rogers, in the 11- ical reconciliation was The Flag, designed in 1978. It took whale watching. We went to South Coast Plaza Mall in Costa story historic landmark Omaha Building built in 1889. much optimism and conjuring to suggest a common flag Mesa. The lower level housed the Muirhead Galleries where Beryl, enamored with the work of Carol Summers, who lives with Semitic symbols to heal the rift between Jews and Hundertwasser’s Crusade of the Crossroaders, became our in Santa Cruz, purchased several pieces. We continue to Arabs, six years after the Palestinian massacre of the 1972 share simchas and discuss art. largest art purchase to that date.

Israeli Olympic team in Munich. He hoped “the flag of tolWhat attracted us? Was it the fact that Hundertwasser and erance towards the faiths and life-styles of the other comThe picture made fun of navigating and negotiating traffic circles and roundabouts in London, a scary proposition in my father were from Vienna? Was it color, whimsy, the ecolog- munity” would create concord. ical motif, the inlaid shimmer of gold and silver reminiscent of an American right hand-driven car in a left hand country.

Hundertwasser died in 2000 aboard the Queen Elizabeth Weakened by wine served at the reception, dizzy, giddy the Austrian Gustav Klimt and Egon Schiele, and the Spaniard 2 and is buried in New Zealand.

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March 30, 2012 | The Jewish Press | 19

Where Arts meets science, part II: Steve Caplan

by ANNETTE VAN DE KAMP-WRIGHT in Israel between state and synagogue, and religious coerEditor of the Jewish Press cion at the state level is rampant. Over 25% of Israelis refuse Steve Caplan is an Associate Professor of Biochemistry to marry in Israel (including me), because civilian or even and Molecular Biology at the University of Nebraska non-orthodox weddings are not allowed. The ultra-orthoMedical Center in Omaha. He is married to Naava dox in Israel, the fastest growing population, generally does Naslavsky (see page 13 for her story); together they have two not serve in the army or even work for a living -- depending children: Mika and Eylon. instead on government handSteve’s first novel, Matter outs.

Over Mind, is about a bioUnfortunately, Israel lacks a medical researcher seeking lot of the tolerance that is tenure and struggling to overtaught here to children in the come the consequences of U.S. at a very early age. So, as growing up with a parent sufa North American in Israel, it fering from bipolar disorder. was hard not to feel some disHis second novel, Welcome appointment with the course Home, Sir, deals with a of Israel’s demographic hypochondriac principal changes, the rise of anti-deminvestigator whose service in ocratic elements that culmithe army and post-traumatic nated in Prime Minister stress disorder actually preRabin’s assassination, and the pare him well for academic, deep chasm between the but not personal, success. growing numbers of ultraThe first indication that orthodox people and the secSteve Caplan has a way with Steve Caplan with his books Mind Matter Over and Welcome ular Israelis. On the other words is the Opossum story Home, Sir. hand, Israelis in the U.S. on his blog, No Comment, which is hosted on Occam’s almost always feel a significant connection with Israel. No Typewriter, a community of scientists who like to write: matter how frustrated and upset one might become with ‘For some time now, I have been treading carefully when Israeli politics and the situation in the Middle-East, even mowing the lawn (which is now no longer necessary despite after many years of living in the U.S., Israelis often continue our mild weather this year) and raking the leaves. The rea- to monitor the situation in Israel on a daily basis. This son for this is that a mysterious creature had been leaving comes to light in Welcome Home, Sir as Israeli-American rather smelly bundles of scat scattered (love that allitera- Ethan Meyer struggles with his family’s dual identity. In one tion!) throughout the yard. scene in the novel, he actually defends Israel, despite his own The mysterious creature has been identified, as I was sud- growing reservations about Israel’s leadership. This is also a denly jolted from the comfort of the smallest room in the typical type of scenario for Israelis living in the U.S. house to see our visitor sitting on the fence. Not politically Do people who read Welcome Home, Sir think it is autobispeaking, of course.’ ographical, and assume you are a massive hypochondriac?

Maybe short blog entries aren’t your thing, but maybe they I think that most good fiction usually has autobiographigive you a taste for something more. In that case, look no fur- cal elements. That doesn’t mean that the story or characters ther. For a guy who spends most of his waking hours in a lab, are real, but grafting bits and pieces from real life is a way Steve is remarkably productive in the fiction department. that authors can add a realistic voice to a story. As for what Do you write because you need to, or because you want to? most readers think, given the tremendous amount of stress That’s an interesting question, and by writing I’ll refer that there is in today’s scientific research community, and only to my non-science writing (as opposed to the large the fact that I run a lab and am responsible for 10 students, amount of science writing that I do as part of my work). I technicians and post-doctoral researchers, I doubt that have always been a bookworm, and even in my childhood many who know me personally would associate me too had the distinction of being labeled “library Steve.” Of closely with the behavior of Dr. Ethan Meyer, the main charcourse that was meant as a derogatory term, but I was acter in the book. At the same time, this is perhaps one of secretly delighted. So I would say that reading fiction is the messages that the novel tries to bring across—how little something that I’ve always needed to do. Writing, and espe- most people know about what goes on inside the head of an cially fiction writing, was always something I wanted to do. outwardly successful person (scientist).

And I did write fiction for many years, including short sto- How do you achieve the realistic tone of your writing? ries, essays, etc. However, about 15 years ago as a result of a I think the key to realistic writing is portraying realistic variety of life experiences, the need burst forth in me to characters. As you noted, the inclusion of autobiographical write—and I suddenly felt that I could dig deep enough into pieces and knowledge obtained second-hand through reliable my own psyche to write literary fiction in a way that would sources lends to the credibility to the novel. From a technical be compelling for other readers. standpoint, the dialog in the novel is an essential element of What is the difference between an American in Israel and the realism; each character needs to behave and speak in a an Israeli in America? manner that befits his or her character. Literally hundreds of I’ll try to answer that from a personal standpoint, rounds of revision and serial bouts of reading the dialog although for the record I grew up in Canada and actually aloud are one of the ways that I try to ensure a realistic tone. possess triple Canadian/US/Israeli citizenship. Let me start What do you hope to communicate to your readers? by saying that Israel is a wonderful country, with a rich hisFirst, I hope that readers will simply enjoy the story; that’s tory on so many fronts, and such intense meaning for so the number one goal. But being literary fiction (as opposed many people. There is also such a strong core of brilliant and to genres such as mystery, romance, sci-fi, etc.), I do also highly talented people, in all areas of the arts, sciences and hope to stimulate the readers to think about a variety of other fields. Such a disproportionately high number of issues. One of my goals is to provide a window to see what Nobel Prize winners (for such a small country). In fact, there an academic scientist’s life is really like. In the media and telare more Israeli faculty members at U.S. universities than in evision/films, scientists are often portrayed as “geeks” or Israel itself. “evil monsters.” Since science is playing an ever-growing role But at the same time, aside from the peace and security in today’s society, I feel the need to show that scientists are issues that are fairly well covered in the news here, Israeli people with the same fears, problems and concerns as society is in a sad process of erosion. There is no separation Continued on page 20

A visit to Paris Continued from page 17 French food is fabulous, but if you are looking for a flavor of the East, try the Shang Palace, which opened in September in the Shangri-La Hotel. The chef, Frank Xu, provides spectacular Cantonese food, which is not so typical for Paris. Everything on the menu is scrumptious, especially the eggplant.

In my quest to experience the many areas of Paris, I switched hotels again, to the Radisson Blu. I found the manager of the eighth-floor business lounge charming. He showed me the city from the windows of the hotel’s halls, everything from the local synagogue to the Eiffel Tower.

The hotel, located on Boulevard Haussmann, is near premium shopping, which makes it a great location. There are a few special museums that are about a half-hour walk away.

One that touched me was the Nissim de Camondo Museum.

The museum was once home to a Jewish family known as the “Rothschilds of the East,” whose members died in Auschwitz.

Paris is filled with so many dreamy locations, outstanding art and over-the-top restaurants. The people are charming, especially if you break out a few simple words in French.

Most everyone I encountered was welcoming and helpful.

Masada Siegel can be reached at fungirlcorrespondent@gmail.com.

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Classof2012 High School Seniors High School Seniors and Parents We will be publishing our annual High School Graduation Class pages on June 1, 2012. To be included, we need your graduation photo and the information to the right. You can also email the information and photo to: jpress@jewishomaha.org.

High School Senior Information

Michal Meron

Name _______________________ Parent(s)â&#x20AC;&#x2122; Name(s) _______________________ Current High School _______________________ College you plan to attend _______________________

Genesis in each panel, using printing press

by DAPHNA POLLAK ALPERSON The focal point of our home is a large vibrant plates. And each panel includes symbols sugseven panel painting by Israeli artist Michal gesting the acts of Creation which occurred on that day. Joel asked Meron, entitled The Days of Creation. Joel fell in Michal to create a sevlove with a photo of the enth panel, depicting the paintings, on display at a seventh day, when G-d Federation conference rested, He blessed the years ago. He never forwork He had done, and got them, and simply â&#x20AC;&#x153;createdâ&#x20AC;? rest. stumbled upon them In our home, the panels once again a few years Michal Meronâ&#x20AC;&#x2122;s The Days of Creation have been mounted to later, while gallery hopping in Old Jaffa in rise mechanically to reveal our TV. In an act of Israel. Well, it was fate! The panels were soon technology-aided symbolism, the first six panon their way to Omaha, just in time to become els are actually the ones to move, while the sevthe pride of Joelâ&#x20AC;&#x2122;s newly built house (this was enth, Shabbat panel, remains at rest. way before he and I had met).

Ten years after their move to Omaha, Michalâ&#x20AC;&#x2122;s Michalâ&#x20AC;&#x2122;s original work comprised six panels, works feel as fresh, meaningful and beautiful to one for each day of Creation. The artist embed- Joel as the day they were purchased. We both ded the Hebrew text of the first chapter of love them and are happy to share them with you.

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Steve Caplan Continued from page 19 everyone else; and they do lead fascinating lives that I think would be of interest to the public at large.

Both my novels, Matter Over Mind and Welcome Home, Sir, deal with psychiatric/ psychological disorders (bipolar disorder and post-traumatic stress disorder (PTSD)/ hypochondria, respectively. The former deals with the fallout from having a parent with bipolar disorder, while in the latter, the hero, Dr. Ethan Meyer has severe hypochondria. Understanding how people are Playinâ&#x20AC;&#x2122; possum. affected by these disorders is something Iâ&#x20AC;&#x2122;m very interested in. I also raise questions about the accountability of people for their own behavior, and how much we are influenced by our genetics and chemical makeup.

Welcome Home, Sir also deals with ethics in the laboratory, abuse in a relationship, and of course Israel and identity. In particular, the idea that our identities and character are related to our life experiences; in Dr. Ethan Meyerâ&#x20AC;&#x2122;s case, his army stint and resulting PTSD actually spur his success as an academic scientist.

Have you already started on another novel?

Yes, I have! Tentatively titled Let My People Go, it will be another story set in a lab. I have the general plot and characters worked out, but I need to find time to write!

What does your writing process look like?

Itâ&#x20AC;&#x2122;s interesting that in writing science, grant proposals, science manuscripts, etc., I am extremely disciplined and rigidly focused on my goals. On the other hand, with fiction writing, I do not have a structured process. That is part of the fun. When in the mood, I can write from 10 pm until 2 am. Other times, days will go by when I do not feel the creativity bug. I will also spend my â&#x20AC;&#x2DC;non-creativeâ&#x20AC;&#x2122; hours in rewriting and revising again and again (obsessively!), as these tasks are more technical/mechanical.

Even between the two novels, there was a dramatic difference in my writing process.

Matter Over Mind poured out in linear sequence, whereas Welcome Home, Sir came to me in individual scenes, not necessarily in the order that they appear in the novel.

Can you talk a bit about Occamâ&#x20AC;&#x2122;s Typewriter?

Absolutely! Occamâ&#x20AC;&#x2122;s Typewriter is a collective of about 13 different scientists across the globe, all of whom are all interested in blogging, writing about science and the life of scientists and a host of other issues. Among our ranks are Ph.D. students, scientists in private companies, librarians, principal investigators and lecturers (such as myself

and others), senior editors of prestigious scientific journals and even a high-level professor who has the distinction of being a Dame of the British Empire. I believe 3 of us are published fiction authors, including Dr. Jenny Rohn who coined the term â&#x20AC;&#x153;LabLit;â&#x20AC;? the genre of laboratory literature with reallife scientists. Everyone has complete autonomy, and itâ&#x20AC;&#x2122;s a wonderful forum for non-scientists as well -- in the blogs we all tend to shy away from actual science and focus more on our daily lives as scientists. For anyone interested, this is the link to Occamâ&#x20AC;&#x2122;s Typewriter: http:// occamstypewriter.org/.

How have readers responded to the pairing of IDF life and an Omaha laboratory?

Thatâ&#x20AC;&#x2122;s an interesting question, but itâ&#x20AC;&#x2122;s still early for me to really talk about readersâ&#x20AC;&#x2122; responses. I should also point out that the reader might infer Omaha, although I didnâ&#x20AC;&#x2122;t actually mention which Midwest city Dr. Meyer hails from. But from discussions with some who have read the novel, the idea of an Israeli army veteran running a biochemistry lab in the mid-west does not seem unusual.

As I noted earlier, there are thousands of Israeli academics and scientists in the U.S. in permanent positions. Almost every department that Iâ&#x20AC;&#x2122;ve encountered, in every state, seems to have identifiable Israelis there (those who have Israeli names).

On a more individual level, the PTSD acquired by Ethan Meyer during his IDF service -- despite having a ruinous impact on his personal lifeâ&#x20AC;&#x201D;really drives him to be a highly successful and professional researcher. But at what a cost!

What really happened with that opossum?

Thatâ&#x20AC;&#x2122;s actually a sad little story. He was sitting on the fence in our backyard, and suddenly we could hear cracking noises -- our neighbor in the back was shooting at him and hitting the back wall of our house! Now I know that many people view opossums as pests, but I canâ&#x20AC;&#x2122;t help noting how American society is so deeply rooted in gun culture. It might be the heritage of the Wild West, Gunsmoke folklore, or truly the desire to be able to protect oneâ&#x20AC;&#x2122;s own family. But having had three years (plus another year or so in reserve service) in the IDF toting a heavy (and oily) rifle over my own shoulder, I can definitely say that Iâ&#x20AC;&#x2122;m very happy not to have to bear arms anymore. Perhaps true military service would cure some gun afficionados of their need for guns in civilian life.

As for the poor opossum: shouts from our family led the neighbor to put down his weapon, and we all hope the opossum moved on to find a friendlier environment.

March 30, 2012 | The Jewish Press | 21

Works of art

by NANCY RIPS Whether it’s Shabbat candlesticks, menorahs, or a print by Yaacov Agam, Judaism can be a work of art.

For thousands of years, Jews have excelled in creating visual works, from oil paintings to sculptures, photography to digital offerings. We lived the phrase “do it your way” before it became part of the common vernacular.

But do Jews write about art? Do we read about it? Or do we just do it? Recently I asked local Jewish talents if they had a favorite book about Jewish art.

Jewelry and fused glass artisan Beth Brown-Gershovich explained, “I love books about Marc Chagall’s work, and my favorite is Marc Chagall: The Lost Jewish World by Benjamin Harshav (Rizzoli, 2006). What draws me to this title and Chagall’s work is the whimsical and dreamy way he paints his subjects, as they float and dance through the moonlight air. And although my great-grandparents remembered a shtetl life of Cossacks burning villages and killing Jews, Chagall showed a sweeter side to shtetl living.”

Visual artist and photographer Ophir Palmon conveyed he was exposed to art in a general way from a young age. One book that left an impression on him as a boy was The Best of Life, produced by Life Magazine (Time Incorporated, 1973). He pointed out his creative interests at the time rested more on the technical side, but “this book, with its intimate images of people from around the world, captivated my imagination and sailed it to faraway places and cultures.”

The Principles of Uncertainty by Maira Kalmon (Penguin Press, 2007) is a favorite of freelance designer and artist Kim Goldberg.

She remarked, “This book documents a year in Maria Kalman’s life, which was full of colorful and expressive illustrations and photographs. It touched my spirit and inspired me to continually slow down and take notice, observe and write, and continue to draw and document thoughts and ideas about the wonderful characters and objects I see in the world around me. It is a book to learn from, to experience, and to return to for peaceful reflections.”

Todd Simon, Vice President of the Bemis Center for Contemporary Arts and his wife Betiana, both art lovers, recommend Warhol by art critic David Bourdon (Harry N. Abrams, 1995). They commented “This is an incredible illustrated biography of Andy Warhol. He might very well be the Picasso of our time.”

According to art historian Laura-Lee Needelman, stories can sometimes outshine the art. The Jews, A Treasury of Art and Literature, Sharon R. Keller, Editor (Hugh Lauter Levin Associates, 1992), the stories are striking and feature authors from each age of Jewish history: Maimonides to Spinoza,

Dreyfus to Weisel.

This book spoke to me because it gave a more personal way

to explore the history of the Jewish people through its art.

The book began with illustrated biblical stories and then proceeded to historical and rabbinic authors. It concluded with stories from the Holocaust and the new nation of Israel. Each story had appropriate illustrations, from paintings to photographs. I especially found meaning in reading the original account by historian Flavius Josephus of the fall of Masada. Having been to Masada on two trips, I felt like I was there again, experiencing it all once more.”

And from bibliophile and Metropolitan Community College Library Supervisor Gary Katz, “I learned about an amazing Jewish artist in the book, Oded Ezer: The Typographer’s Guide to the Galaxy (Die Gestalten Verlag, 2009). He’s a leading artist in Israel, who makes graphic designs for commercial products, but not only that, he has created his own fonts. These fonts take design up to the next level and make you think about what the words look like and symbolically mean. The book is in the Kripke Library. It’s nothing short of amazing.”

Carole Greenberg, Pennie Z. Davis Assistant Director and Children’s Art Specialist commented, “My favorite art book

is naturally one I share with children. I like A Bird or Two (Eerdman Books, 1999) by Bijou LeTord. It’s the story of Henri Matisse, and how when he was a child, he suffered an attack of appendicitis. To keep himself busy, he used paints and copied landscapes from a manual. The book introduces his spirit and style, and talks about the use of color in language children can appreciate. And it uses many descriptive words that connect art to your soul. It conveys: no matter how old you are, if you love art, art will continue to live.

As Passover nears, I wasn’t surprised to hear artist and interior designer Ducky Milder tell me, “I found Leonard Baskin’s artful and expressive drawings in A Passover Hagaddah, by Herbert Brownstein and illustrated by Leonard Baskin (Central Conference of American Rabbis, 1975) masterful as well as colorful. Along with the creativity of many writers of prose and poetry, this Hagaddah defined a new and modern Jewish identity. To be sure, there were moans heard around our Seder table because it replaced our old Manischewitz Hagaddahs, but many of us were appreciative of the artful brilliance of Leonard Baskin.”

And Shira Abraham, who has a Master in Museum Education, told me, “There is something so wonderful about The Moss Haggadah by David Moss (Bet Aleph Editions, 1970). It’s a beautiful intersection of two worlds, where art becomes midrash, and midrash becomes art. He juxtaposes small paintings of people in various time periods, with fragments of mirrors, so the viewer can see themselves literally reflected in every generation.”

My favorite Jewish art book? In this discussion of “Why is this art book better than all other art books?” I recommend Passover Splendor: Cherished Objects for the Seder Table by Barbara Rush (Stewart Tabori & Chang, 2004). It’s in my own personal library because it’s an elegant, glossy look at Jewish artistic creativity that showcases the finest Passover ritual items in the world. Passover Splendor retells the Exodus story with photographs of exquisite wine goblets, Seder plates, Hagaddahs, matzah covers, afikoman bags, tablecloths, even a matzah perforator roller. Who knew?

Judaism is still a work of art even in this time of eBooks, Kindles, Nooks, and yes, glorious hardcover paper-bound books. And it’s still up to each individual to choose his or her own Jewish art books, as though they personally were liberating them from slavery for the very first time. There must be an app for that.

HappytoPassover the Jewish Community Sts. Peter & Paul St. John Nepomucene & Holy Trinity Catholic Churches 614 Center St. Howells, Ne Fr. Leo Rigatuso, Pastor

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PEG ‘O MY ‘ART: Guggenheim the patroness

by OZZIE NOGG In the years before WW II, when Peggy Guggenheim nobody else was buying, collected art and men Guggenheim went on an acquisition with equal passion. binge. “Everyone knew I was in the When asked, at a dinmarket for anything I could lay my ner party, how many hands on,” she said, as she gobbled husbands she’d had, up paintings and sculptures at fireMiss Peggy reportedly sale prices. Her cache included replied, “Do you mean Kandinsky, Calder, Cocteau, mine, or other peoGiacometti, Arp and Mondrian. As ple’s?”

When the Nazis marched toward France, Guggenheim died at Guggenheim wrote, ‘’The day eighty-one in Venice -Hitler walked into Norway, I after tumbling from her walked into Fernand Léger’s stugondola and suffering a dio and bought a wonderful 1919 stroke -- her collection painting from him for $1,000.’’ gs in her Soon the fledgling Guggenheim do so Ap asa Lh r he (for which she’d origiof two Peggy Guggenheim with nally paid approximateinventory boasted ten Picassos, ice Ven in gondola ly $250,000) was valued eight Miros, four Magrittes, three Man at more than $350 million. Impressive stats for a woman Rays, three Dalis, one Klee and one Chagall which Peggy hung cursed with the Guggenheim family “potato” nose and in her London gallery -- Guggenheim Jeune -- during its 1938 derided by early critics as a dilettante with no eye for art. opening. Ever the mad-cap multi-tasker, Guggenheim ran her Let’s begin with Peggy’s 1916 New York City society debut, gallery and carried on a passionate affair with Irish writer after which she took the inheritance left by her father, Samuel Beckett who, according to her autobiography, would Benjamin Guggenheim (who perished on the Titanic), show up in the middle of the night with four bottles of chamdecamped to Europe, married Dadaist painter and writer, pagne and not let her out of bed for two days. When she came Laurence Vail, bore two children, and was introduced by up for air, Guggenheim acquired forty works by German Vail to the bohemian art world that eventually shaped her painter Max Ernst whom she had rescued from Nazi-occupied life. In 1920’s Paris, Peggy-the-libertine-flapper joined a cir- France. After she tossed Beckett out with the empty bottles of cle of impoverished, little known avant-garde writers and bubbly, Guggenheim closed the London gallery, enjoyed a artists, including French surrealist painter Marcel Duchamp lusty liaison with Ernst and moved with him to New York whom Peggy later credited as “the great influence of my life.” where they wed in 1941. She shed Max five years later.

In 1937, approaching her fortieth birthday, divorced from To fill the void, Guggenheim opened the Art Of This Vail and massively bored, Peggy Guggenheim decided to get Century Gallery in Manhattan and began representing a job. “Someone suggested either an art gallery or a publish- emerging artists Mark Rothko, Robert Motherwell, Willem ing house, and I thought a gallery would be less expensive. de Kooning and Jackson Pollock. Guggenheim considered My motto was, ‘Buy a picture a day,’ and I lived up to it. Of her discovery of Pollock “by far the most honorable achievecourse, I never dreamed how much I would eventually ment” of her life, even though, when Guggenheim began spend.” By her own admission, Guggenheim couldn’t dis- buying Pollock in 1943, most people considered him worthtinguish Abstract from Surrealist from Cubist, but Duchamp less. According to biographers, Peggy Guggenheim arrived quickly taught her the differences. “I took advice from none daily at her Art Of This Century Gallery in a thrown-togethbut the best,” she said. “I listened, how I listened! That’s how er outfit with smudged crimson lipstick, her hair dyed a I finally became my own expert.” severe black (or in platinum curls), huge bat-wing sunglasses

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astride that potato nose and her treasured Lhasa Apso dogs trailing behind her. After work, Peggy hosted wild parties and claimed she went to bed drunk every night for five years.

By 1949, Peggy Guggenheim was in Venice, happily ensconced in the Palazzo Venier dei Leoni -- an unfinished 18th century Grand Canal palace. In 1951 Guggenheim opened her home and collection to the public. Like pilgrims to Mecca, hundreds of thousands flocked through the crumbling palazzo, surprised to find paintings hung in the bathroom beside Peggy’s wet stockings. To avoid gawkers, Guggenheim rode in her gondola or sunbathed naked on the roof. “Fifty per cent of the people who come here genuinely want to see my collection; the others to meet what they consider a celebrity,” she said of the daily intrusions which continued for thirty years.

In her book, Venetian Dreaming, Paula Weideger wrote, “The fact that she was one of the great patron-collectors of contemporary art is buried under a mountain of gold-spangled gossip. Yes, she could seem like a ditzy duck, but Guggenheim was also an art-world swan.” And a golden goose to museums and institutions that received Guggenheim’s gifts of priceless contemporary paintings, sculpture and works on paper. Over time, Guggenheim gave away some twenty Pollocks -- including his immense 1943 Mural, created as a commission for the entry hall of her New York apartment.

When Guggenheim decided to donate the 20’ x 8’ work to the University of Iowa in 1948, university officials balked at the shipping and insurance costs of $100, and wondered where they would put the thing. Mural, considered by many to be the most important modern American painting ever made, currently hangs in the University of Iowa’s Museum of Art. Switching gears here. According to the Jewish Women’s Archive, Guggenheim tried, for the most part, to hide her Jewish roots. She admitted feeling more comfortable around non-Jews and was sometimes accused of being anti-Semitic.

But in her memoirs, Guggenheim doesn’t deny her faith. She discusses her family’s Jewish heritage and how she found solace in saying Kaddish for her father. Despite these somewhat flimsy credentials, Guggenheim earned entry (sandwiched between Anna Freud and Golda Meir) in the book: Fifty Jewish Women Who Changed the World. Jewish tradition not withstanding, her ashes are interred in the small garden of the Palazzo Venier dei Leoni next to the graves of her beloved dogs. Outrageous to the end, our Peggy.

Ramblings from an artist’s mother

by GLORIA SHUKERT JONES It’s never been easy being the mother of a daughter who’s an artist, as I’ve never known what to expect. Her personality and characteristics are just as diversified as her art. Her entire existence has been a roller coaster of ups and downs, spinning around her complex nature like a merry-go-round.

If there is such an oxymoron as, “a focused distribution of ideas”, it aptly describes my multi-talented daughter, Hilarie Couture, formerly Hilarie Manion, nee Barbara Hillary Sterenberg.

Hilarie was an outstanding student in high school and won several scholarships, one of which was to the prestigious Washington University in St. Louis, Missouri. After completing her studies there, she hitchhiked to San Francisco where she painted portraits for two years. She returned to Omaha for a short time, but unfortunately her apartment caught fire and everything was destroyed.

The wanderlust caught up with her, and seldom left, luring her to major cities, such as New Orleans, Boston, Denver and Chicago, where she pursued various aspects of an art career, including photography, hairstyling, fashion design and interior decorating.

She tried a number of different things, and discovered a little tourist town, Eureka Springs, Arkansas.

There, her never-ending quest for success prompted her to set up a shop with a multi-purpose offering of hair styling, make-up artistry and photography. She also sold bridal gowns. The idea was to sell a gown, and then do the bride’s hair and make-up and photograph the finished product. She called this establishment, “Cut Me Loose and Tie Me Down.”

Later, she moved to the nearby town of Rogers, where she met her first husband, Ed Manion. The marriage lasted ten years, during which time she had a hair salon festooned in jungle décor, which she called, “Head Hunters,” followed by a combination hair salon and antique shop located in an old historical house, with each room dedicated to a relative. This venture was dubbed, “Hair Looms”.

Most of her antique inventory came from auctions, so she became interested in becoming an auctioneer. She bought a large warehouse in Centertown, Arkansas that she and her husband refurbished, and where she did hairstyling, sold and appraised antiques, and held theme auctions, usually items from the Victorian era, or the 1950’s. She called this all-female staffed business, “Auction Annie’s.”

Then she heard real estate auctions were thriving in the area. Why not sell real estate property on auction, she figured? So she became a licensed real estate agent. Eventually, the stress of trying to hold down so many different occupations at the same time was beginning to take a toll on her marriage and her health. She suffered from acid reflux, and ended up in the hospital. After her marriage ended, she struggled financially, especially since this was also the beginning of the economic downturn. She eventually pulled up stakes and headed to Savannah, Georgia for a change of scene and a new life. The stay in Savannah lasted less than a year.

Next, she moved to Wheeling. I tried to coax her to come back to Omaha, telling her that while it was not primarily a mecca for the arts, it wasn’t a hick town either, and that she would most likely be able to find someone here who would appreciate artistic talent. But she felt Wheeling, which was close to Pittsburgh, would have more doors open for her.

She dated during this time, but her expectations were too high, and she was frequently disappointed. How do you please someone like Hilarie, anyway? Searching, always searching for the perfect job, the ideal marriage, and a way to express the artist within. At last, the breakthrough came, but not in the way either she or I expected.

She went to a jazz concert one night, and was wearing a beret. One of the musicians was wearing a similar beret. This initiated a conversation that lasted until the wee hours, and set the stage for the beginning of a new romance that eventually led to a marriage proposal. One of Hilarie’s fond wishes that I thought was extremely eccentric, was her desire to get married in a hot air balloon. I laughed it off, and never took it seriously. But that’s exactly what happened a couple summers ago in Omaha, and the story was featured in the Omaha WorldHerald. I became a one-time celebrity of sorts myself, as my picture appeared along with the story, and I kept getting clippings from friends and acquaintances for weeks afterward.

Hilarie and her new husband, Ed Couture, have a happy marriage in spite of the fact that during the past couple years Hilarie still hadn’t found the ideal place to live. She had mentioned the areas on the West Coast around Seattle and

Portland many times, and so it was only a matter of time before this materialized. Ed was more than accommodating.

If she had wanted to move to Greece, for example, he would have gotten a passport, developed a passion for feta cheese and started packing. As it was, they made several trips to the northwest coast, decided they loved the area, and moved to Vancouver, Washington. Ed, willing to make any sacrifice to please Hilarie, had to leave a long standing, good paying position and find one at a lower salary. I don’t know too many guys who would uproot themselves like that, but of course as a musician, he is an artist in his own right, and shares Hilarie’s unfettered temperament.

I contacted my peripatetic, artist daughter to get an update on her art experiences since she left Arkansas, where I ended the first profile. She reported she didn’t do much in Savannah, but in Wheeling she bought an easel and did some paintings and small arts and crafts, such as trinket boxes, which she sold. Her latest self portrait adorns the wall over my staircase, and joins two other portraits of Dennis and myself, created in 1975, when we were all a lot younger. Her newest self portrait won a prize, and a miniaturized version of it adorns her Facebook page. While in Wheeling, she took a course in building restorations and wall finishing, creating a mural and also a miniature replica of her house, down to the last detail. She graduated last year with high honors, and also won second prize in an art competition entitled, Celebration of Learning. She took a course in stained glass, and created what, in my opinion, is one of her greatest works.

My mother’s dinette set had a white ceramic table top, and chairs with white scroll work on the legs, and turquoise leather upholstery. It blended well in her similarly decorated kitchen.

When she died, my brother used the dinette set in his bachelor pad, and he wasn’t the world’s greatest housekeeper. The table became a catch-all for odds and ends, junk mail, and whatever else he didn’t know what to do with, including layers of dust.

Then when he passed away, the table and chairs sat in storage for nine months, and then was confiscated by Hilarie, as it traveled many miles in a U-Haul trailer. By that time, it was looking pretty dilapidated. Hilarie decided to refurbish what had become a sorry sight, and with frugality in mind, confiscated some scrap pieces of stained glass some of the students at her school had discarded when completing their projects.

She painstakingly removed the old ceramic table top, arranged and glued in the glass pieces in an intricate, cameolike design, and laminated the whole top. Then she painted the scroll work gold, and reupholstered the leather chairs with red satin material left over from another project. It was a thing of beauty, and bore little resemblance to the original.

While living in Wheeling, Hilarie taught a course in real estate at a local community college. She also rented a booth at an art festival and did hair photography. The festival was designed to encourage emerging artists, and Hilarie was becoming well-known in those circles, acting as a sort of mentor whose work was always admired. She is now a member of the 360 Gallery in Vancouver.

She called me to announce after living only two weeks in her new location, she had already sold her first house as a real estate agent. She was very excited about this, since the real estate market in Wheeling was not that great.

Washington is not a reciprocity state, meaning the real estate license from West Virginia, was not recognized in Vancouver, which necessitated Hilarie’s having to take the exam over again. As she did in Wheeling, she passed this reportedly difficult test the first time.

There has never been anyone in my family quite like Hilarie. She’s beautiful, intelligent and knows exactly what she wants at any given time, and usually gets it. She’s fearless and dedicated, but I occasionally get frustrated and wish she would settle down. I guess many artists defy convention and do their own thing. However, when she lived alone she’d been in more than one situation where she remained undaunted, while I wondered where her next meal was coming from. I guess that’s how the phrase, “starving artist” originated. Somehow, she always managed to bounce back.

Hopefully now, Hilarie has finally found a place that seems welcoming to her, a place where she and her art will become renown. Maybe Vancouver will be her permanent home. However, I would hesitate to make any wagers on it.

Recently, I was inspired by a quote of Ralph Waldo Emerson that seems to sum up the psyche of Hilarie: “Do not follow where the path may lead. Go instead where there is no path and leave a trail.”

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Enjoyment and introspection

by ANNETTE VAN DE KAMP-WRIGHT Editor of the Jewish Press Shiri Tene is the daughter of Mindy and Gady Tene. She has a sister, Talia. She graduated from the University of NebraskaOmaha with a BA in Art History. Currently, she works as the Youth Director at Beth El Synagogue and as the Teen Philanthropy Coordinator at the Center for Jewish Education.

When in 2011, the Jewish Community Center made the gallery available for Jewish Federation employees, Shiri was one of those who showcased her art.

What made you start painting?

From a young age, I have always been drawn to the arts. I grew up going to live theater and museums with my grandparents from a very young age. Some kids would never ask to go to the latest exhibition of French Impressionists or explore a statuary garden at a local modern art museum but that was something I wanted to do whenever possible. Having been exposed to the arts from such a very young age, I was almost naturally drawn to a paintbrush. Later in my teen years, I found my desire to further study art, it’s history and mediums, and the artists.

Is painting your main focus, or do you do other things?

Painting is my passion but has never been the only focus in my life. I worked throughout my high school and college years and now, as a young adult, I find extreme pleasure in my professional life as well. Yet, being around the arts is something that gives me contentment and satisfaction. It was never my intention to make a living selling my artwork. In regards to what mediums I work with, while I enjoy painting, I also enjoy working with charcoal and pencil. I have

recently picked up oil painting and seem to have found a new love for working in this complicated medium.

Why is it important to have a creative outlet?

Painting is my introspective time. It provides me with tranquility. Until now, I have yet to find another release that brings me to the same peaceful space I experience when working in the arts. After a long day at work, I find an added sense of pleasure when I come home and am able to pick up a paintbrush and let my creative juices flow.

Is art for you a private affair, or a public endeavor?

It’s very private. I draw in relative privacy, first while at school and now at home or in a small art class setting. It was never my intention to have my artwork viewed or displayed by people other than students in my classes, family and friends.

Who are your favorite artists?

That is a tough question. As an Art

FASTER FORWARD

History major, I have had the benefit of being exposed to so many different art styles and artists. I usually tell people that my first love is the impressionist circle of artists. If I had to choose one, I would probably say Mary Cassatt because of her strength as a woman.

Mary Cassatt moved from America to France as a young painter at a time when female painters were not accepted in academies or with her male peers. She was one of the first painters who brought you into the home of her subjects, presenting scenes of domestic life, which her male counterparts would never have shared. I have always found Mary Cassatt’s depiction of women and their lives in the later 1800 fascinating.

What makes the artistic process so wonderful?

The final result is always the best feeling.

It’s the pinnacle. Sometimes you feel yourself stuck and begin to feel frustration creep in.

At that point, I find my self saying, “hang in there, keep focused, the final result will

r 100 e v o g n i t a r Celeb ng to the i v i g f o s r a ye unity! m m o c h s i Jew

come!”

What's the most beautiful thing you have ever seen?

That’s a very good question. I have to say, in all of my visits to galleries, museum, or wherever, the most remarkable site I experienced was Renoir’s Luncheon of the Boating Party. When I viewed it at the Phillips Gallery in Washington D.C., I actually cried.

This had been one of my favorite paintings growing up and one of my favorite paintings to study in school. Seeing it, in person, was a truly unbelievable experience.

What are you going to do next?

I am going to continue painting for the enjoyment of it. Without art in my life I would not feel fulfilled as a human being.

Art completes’ the puzzle of my “me,” and helps to fulfill my life.

What is your favorite piece of art in the JCC building?

I love the Mosaic that the teens did at the Maccabi Games two summers ago.

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March 30, 2012 | The Jewish Press | 27

Telling an important story

by OZZIE NOGG using the treasured collection she held dear.”

‘Creative violence’ is the term Ellie Greenspoon uses to Greenspoon earned a BFA in illustration and graphic describe her work. Sixteen of these torn, burnt, layered col- design from Virginia Commonwealth University and a lages -- focusing on earth, water, fire, war, seasonal change Master of Fine Arts from Clemson University. Before movand the human condition -- were featured in Ellie’s recent ing to Omaha in 1997 with Lennie and their two daughters, solo exhibition at the Nebraska Arts Council Fred Simon Ellie built an award-winning photography program at South Gallery. The show was titled, Visual Dialogue. And so, since Carolina’s first high school for the talented and gifted in the the Passover seder dialogue focuses on the the very human arts. “I loved working in that environment,” she said. “The and many-layered liberation story, this school offered small classes and proseems an appropriate time to discuss moted exploration without the Greenspoon’s background and her boundaries of a conventional high deeply personal photo-based mixed school. I attribute my curiosity and media images. Let the telling -- the creativity to working alongside my maggid -- begin. very talented students.”

“A juried exhibition called Just as parents try to provide their Remapping the Apron was a watershed children with a seder that entertains event for me,” Ellie said, “because it was while it educates, teachable the first piece that dealt with my mothmoments are part of Greenspoon’s er’s Holocaust experience. The apron I oeuvre. In one project, she brought entered was created from cut up pieces Blumkin Home residents and Friedel from my mother’s tablecloth along with Jewish Academy students together to an apron she probashare personal stories and create bly used once in inter-generational friendships. Ellie serving a dinner then took the students to her Hot party during the Shops studio -- which she had trans1960’s. The apron is formed to simulate the inside of a a transparent fabric, camera -- and taught them the a blue and white floprocess of pinhole photography, ral pattern with a from loading the camera to using the heart pocket, sort of darkroom. The students turned frilly. So I decided to empty paint cans into pinhole camscan the apron in eras, took pictures of their new sections and inteBlumkin Home ‘grandfriends’ and developed the grate a written affiimages -- along with the journaled childhood stories davit of my mother’s -- onto the negative. In 2008, Greenspoon was part oral account of her of the Federation’s experience in Partnership with Auschwitz, broken Israel Artist in English and all. I fed Residency Program the pieces of tablein the Western cloth material into Galilee.

She the printer and then worked on a phosewed the recomtography project posed facsimile. The with high school apron is called students to create Magda’s Recipes for Survival. The work won an award and “large scale photoured various galleries, but what I find most fulfilling tograms on fabric about this piece is that it brought together old materials that had everyone into a new medium to tell an important story.” around us buzzing Both Ellie’s parents survived the Holocaust. After liberawith curiosity.” The tion the couple relocated to Chomutov, Czechoslovakia, program affected where Eliska (Ellie) was born. “Life looked good for a while, Top: Magda’s Curio Cabinet by Eliska Greenspoon deeply. until the Soviets began to limit the rights of Jews. My par- Morsel Greenspoon, middle: From the “Having lived in Israel ents, being wiser from their experiences, decided to leave Mannequin Series by Eliska Morsel as a young child in a Czechoslovakia. They were Zionists, willing to start their Greenspoon; bottom: Ellie Greenspoon moshav not far from lives again. My father decided to join the Haganah, to fight the Western Galilee, for a Jewish homeland, so we packed it up and boarded a ship the experience brought back my true love of Israel.” almost like the Exodus, but we arrived in Israel after stateThough Greenspoon says she “does not go about creating hood.” The Morsel family settled in moshav Kerem Maharal work that is thematically Jewish,” one recent collage is titled where they lived for six years before coming to America.

Esther’s Preparation for the King. “This piece depicts Esther’s “My father and mother both worked hard and made a suc- preparation to make the ultimate sacrifice to save her peocess here. My mother’s attitude was to accept her new ple. Layers of nude females are surrounded by trees and American life as a gift and make the most of it. She was birds, all very pretty in a gilded cage. The title is the clue. My beautiful, social, a balabusta, unstoppable. She could do intent is to involve the viewer with the medium and ultieverything. She had dreamed of becoming a fashion design- mately it reveals the message.” Ellie’s tzedakah boxes made er, but the war cut that short. Her sewing skills came in very from cheese graters “are part of my Judaica menagerie. I call handy during the early part of the war and during my designs ‘Uncommon Judaica’. I’m intrigued with plumbAuschwitz. Later, she made her own clothes and all my ing supplies, kitchen tools and other household objects that clothes. I’m ashamed to say that as a teenager I insisted my I can reconfigure and embellish so that they stand alone as a mother copy the styles other girls wore so I could fit in. She new design.” Greenspoon’s whimsical tzedakah boxes are sewed them so well, no one knew.” carried in the Jewish Museum’s Celebrations Store in New Greenspoon’s Mannequin Series -- six 16” x 20” black and York City, where (according to museum publicity) they are white prints that trace a woman’s life-cycle from adolescence among the top gift choices. To read more about Ellie’s creto death -- is inspired by her mother. “None of the dress ative process and see a gallery of images and upcoming forms were hers, but they certainly are metaphors for her exhibit dates, visit her website: eliska-mg.com. and her exceptional sewing ability. I painted and added After eleven years at the Hot Shops, Ellie “has just finished ornamentation to the forms and then photographed them, schlepping all my stuff home and am in the process of getvery tight shots with lots of detail, and then hand colored the ting organized.” Even with the added tumult, she plans to prints to give them a nostalgic feel. The piece titled Marriage host the Greenspoon seder this year. “Pesach has always incorporates the bride and groom from my wedding cake been a big family affair, especially since my parents were libthat my mother so carefully saved and presented to Lennie erated around that time. My mother always made the grandand me on our 25th anniversary.” est seder and made sure the entire family -- aunts, uncles, Ellie’s story includes a chapter called Magda’s Curio cousins and friends -- were invited. It was truly a celebration Cabinet -- a 4’ x 7’ metal piece made of sixty emulsion on of freedom. I continue the tradition in Omaha by inviting copper and aluminum tiles. “I laid figurines on the prepared friends and students to share in the meal. And I must mentiles and exposed them in the darkroom. These object d’art tion that my mother’s sponge cake was the highest and the are from my mother’s curio cabinet. They create a narrative best -- a reputation still undisputed.” As for Ellie’s art? piece that tells the story of a child being born, conflict “Creativity is on the back burner until I get my new footing. occurs, and the child’s survival. When Magda’s Curio However, my future intention is to apply for artist residenCabinet was complete, I realized this work was, most impor- cies in and out of the country.” tantly, an homage to my mother, the Holocaust survivor, Perhaps next year in Jerusalem...

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The face of Pop Art

by HAL G. SENAL completely beside the point. But that’s the Call him an artist. Call him a copyist. Call beauty of art: It is whatever you see it fit to him a thief! be.

Yet, one can certainly choose another You don’t have to like it. word for what Roy Lichtenstein made: Art. You don’t have to buy it.

Pop Art, to be exact.

You don’t even have to acknowledge its Born on Oct. 27, 1923, in New York to an existence. upper middle-class Jewish family, the Ohio However, if there’s one thing I’ve learned in State University-educated Lichtenstein was the last few years, art is everywhere. an avid music lover. Throughout his years in Anything that can draw an emotion out of school he could be found drawing portraits of musicians playing their instruments.

His interests included art and design, not to mention long walks on the beach. Wait. I made that up, actually. I just started to feel like I was trying to get the guy a date, rather than write an article about him. (Sorry about that, readers. Continue, um, reading).

Always, though, there were a few interruptions before he was able to hit the button on that neverending ceiling called Greatness.

After serving in the military during WWII, Lichtenstein came home to visit his dying father and eventually went back to school. While there he was heavily influenced by his mentor and teacher, Hoyt L. Sherman, who later on would have an art studio named after him.

After teaching for a time, Lichtenstein shot to fame with his own brand of pop art, which involved taking an already-produced piece of artwork -La Cara de Barcelona by Roy Lichtenstein including many comic books -- and, figuratively-speaking, mold- you can be art. If you think about it, God is an ing it and reimagining it to fit his own artist. When I’m driving to or from my office unique point of view. (okay, my boss’s office; he chooses to let me He did so by using magna paint acrylic use it) and I see the pink-orange twilight, I resin paint, developed by Leonard Bocour, can’t help but get choked up. thickening lines and adjusting the dots in That’s God’s art, right there. the art, as well as redrawing certain parts of And while Lichtenstein may not have the the image to his liking. In addition, he’d crop same rep of my Higher Power, the Almighty, out certain elements and insert new phrases the former’s paintings, reimaginings -in the word bubbles. A couple of his most whatever you want to call them -- cause famous portraits are Whaam and Drowning some people to have their breath taken Girl, (both from 1963). The comic artists he away. So, the question remains is this... borrowed from included Jack Kirby and DC Are you going to be the one to tell them Comics artists Russ Heath, Tony Abruzzo, that they are wrong?

Irv Novick, and Jerry Grandenetti.

The truth is, sometimes, using your eyes Mr. Lichtenstein certainly had a great lot isn’t enough. When it comes to art, beauty, of detractors, who called him a copier and a emotion, and sensation, there’s a part of us hack, but another Jewish artist, Art that we find, deep within ourselves, that we Spiegelman, said that “Lichtenstein did no never knew we had. It’s then, and sometimes more or less for comics than Andy Warhol only then, that we realize that it was always did for soup.” there to begin with. It’s the reason why we Lichtenstein died of pneumonia in 1997. exist in the first place. God gave us this The history lesson portion of this piece beautiful thing for a reason. has now concluded. But please, stay for That thing I’m talking about? It’s called dessert and refreshments. our soul. It makes us think, act, reason, talk See, I’m with Spiegelman on this one. the way we do.

The whole idea of art is that it’s subjective.

There’s a great line from the Stephen People see different things. That’s what Sondheim/James Lapine musical, Sunday in makes it art! the Park with George, where Bernadette I remember, way back in the early ‘90s Peters’ character, Dot, tells Mandy Patinkin’s when those 3-D paintings came out and were incarnation of Georges Seurat that he the talk of the town. Everyone wanted one. should try doing something different. He I didn’t get it. I thought it was a lot of rub- replies with something like, “Oh, so and so bish, even when ordinary, (Kosher) meat- already did that.” She retorts, “But it hasn’t and-potatoes, blue-collar people started been done by you, Georges.” buying them and buying into them. Even See, the thing is, we still don’t know why kids, for goodness sake! Even kids were were given this gift, or what it all means, but becoming pretentious little art snobs! I that -- THAT! -- is the point. remember my best friend at the time conIt takes on different meanings to different stantly making fun of me for not seeing the people. Lichtenstein understood this, even if so-called 3-D image. Then again, it wasn’t his detractors didn’t. until a couple years later that I had to get That’s life. glasses for my declining vision, but that’s Better: it’s art.

March 30, 2012 | The Jewish Press | 29

How art found Larry Budwig

by ANNETTE VAN DE KAMP-WRIGHT Editor of the Jewish Press Many artists love speaking though their work, and not everyone likes explaining what it means to them or to their audience. However, Omahan Larry Budwig has quite a bit to say about his glass creations. His work is easily identifiable by its bright and vibrant color combinations. He often shows at local and regional art fairs; his artwork can also be viewed at https://www.facebook.com/kinddesigns, and at www. kinddesigns.com.

What made you become an artist?

I never actually planned to be an artist. The art found me.

I did always have a feeling that I had a creative streak. I dabbled in photography since high school, but never really thought about it as an art. I was in to macro photography and would just shoot what ever was around. I never really got into shooting photographs because I was into so much else after high school. Skiing was my main passion and I moved to Steamboat Springs, CO after high school and focused on skiing, mainly mogul skiing. I worked at a ski shop, and skiing was my life.

I do remember as a child going to museums with my parents and grandparents. At those museums the glass always stood out and was the only part of the museum I remembered as “Wow, that was awesome!”

After moving to Newport Beach, California, from Steamboat I would go to art fairs such as the Sawdust Festival in Laguna Beach, and it was again the glass that drew my attention. I always thought: “that would be so fun and cool to do,” but then I didn’t really think I could do it.

Then I moved to Omaha in 1990. In the early 1990’s, Dale Chihuly came to Omaha and had an exhibit at Joslyn. I went to the exhibit; once I went alone, and once I came with my family. I was very inspired by him and the exhibit. I was working a couple of jobs, but still thought about glass from time to time.

I met Kirsten while working at the Funny Bone. We married after a few years of dating. Soon Kirsten’s daughter Brianna (now 21) had three sisters, Hannah (15), Sophie (almost 14), and Aleia (12). I spoke to Kirsten about getting a torch or a kiln, and I investigated both.

Kirsten’s response was always: we have kids in the house and it was too dangerous to have tanks of gas and oxygen and glass around. So that was that. Without her approval I gave up on the idea and at the time, I was fine with that.

After Kirsten’s death in 2003, thoughts of glass kept popping into my mind. I needed to get lost in something that was not my

family or work, something that would take me away from everything that had happened to our family. So I took a lamp-work bead class. A few months later I bought a torch, gas t an k s and all of the tools to make beads.

It was fun to make beads at first, and I got pretty good and had some good technique. Soon I found it boring and too exacting, but I kept doing it.

Later I bought a small kiln to anneal the beads I was making. The day I bought the kiln, I also bought some sheet glass and some dichroic scrap glass. I came home and did a very small project with the new glass. I fired it, and it was so cool! I haven’t made another bead since.

I worked with glass and wasted much glass, time and electricity figuring out how things work. After more than a year of trial and error, things started to come together. My jewelry pieces were becoming interesting, and so were the functional pieces. I showed my new pieces to friends and family and they actually liked them. I thought, wow, someone likes my work! Someone then suggested more people should see my work; I applied to the Rockbrook Art Fair in 2005, and got in. People liked what they saw and bought my pieces.

The next summer I had to make a huge decision. Keep working at my regular job at restaurants and bars, or apply to art shows and see if I could get in. I had to have babysitters for my kids every shift I worked at my regular job too. I eventually left my job and started working as a full time glass artist. I did not need babysitters any longer either (my daughters were very happy about that).

Are you trying to evoke a certain emotion in people through your art?

Happiness is the emotion that I feel people get from my work.

A lt hou g h I’m not trying to evoke emotion, I think that the colors and the fun designs do make people smile.

Who and what inspire you?

Nature, and the contrasts found in nature are a huge inspiration to me. Dale Chihuly is, too.

What is the hardest thing about being an artist?

There are a few things that are difficult as an artist. Not having a consistent paycheck can be hard, and of course there are no benefits. The weather is a huge factor as well; outdoor shows rely on good weather. Also, I try to have something new at every show, every time. That means I have to keep my work new and fresh, with new designs, colors and techniques.

If not glass, what other options could you have chosen?

I don’t think I could have done this full time with any other medium.

What sets glass as an art form apart from the rest?

Glass is a bit limited, I feel. Glass art had been around for thousands of years. Every technique has been revealed and discovered. I decided to break down some older techniques, and make small changes. Some work and some don’t. But, when they work it is really worth it!

Are you trying to tell a story through your art?

Not a story really, but I do feel that when a person buys, for instance, a platter, and that platter is going to sit on their new granite kitchen counter, they are always going to remember where they got it and remember me.

What are you most proud of?

I am most proud of the fact that I can make something a person is going to possibly have forever, and they were willing to pay for it. I also feel proud when I hear people in my booth at a show speaking to each other, in a very positive fashion about my work, and they don’t know that I am only a foot away.

What is your next big project?

I don’t really have plans for a next big project, although I do want to make a series of my functional pieces, like platters larger than I normally do. I also have some ideas for sculpture pieces, but I am still working on the design part of it.

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30 | The Jewish Press | March 30, 2012

Local artist and Beth El teacher nurtures creative spark

by JILL BELMONT Beth El Publicity Coordinator “It’s my belief that everyone has a creative spark – it’s just finding the way to use it.” So says Daniel Christensen, local artist and longtime teacher at Beth El Synagogue Talmud Torah. For years, he has inspired young people to express their Jewishness through a variety of art forms.

The BESTT hallways are lined with creative projects spearheaded by Christensen and carried out by his students. His ability to encourage each child to express his/her individuality is appar- Daniel Christensen, flanked by two of his latest creations, part of his Angels series. ent in the finished works.

He added that while some of his work is Christensen’s passion for art began at a young age -- “as soon as I could hold a pen- not Judaically-themed, “most of it is. It’s cil,” he said, crediting his father and grand- something that comes naturally to me. parents for helping to nurture his talents. Sometimes I start a piece that’s not meant to His college years were spent studying histo- be Jewish, but... I can’t help it.”

Over the years, Christensen has returned ry and theater at the University of San Francisco and the University of California at to his painting roots, but still incorporates Berkeley; he also studied at the San paper-cutting techniques in his work, Francisco Conservatory of Theater. His art- through layered stenciling and hand-cutting work can be found in both private and pub- his own stencils. He also has adopted the lic collections throughout the U.S., as well as name, Daniel ben Del (in honor of his in Israel and the United Kingdom. He also father, Del Christensen), with which he maintains a permanent exhibition space at signs his artistic creations.

Brilliant colors and soulful imagery define The Junktion, in Fremont, Nebraska.

Around 20 years ago, Christensen was look- Christensen’s work, which is eclectic in ing for a way to add a Judaic component to his nature. “My Judaic work runs from the traart, and while browsing through the art sec- ditional papercuts to the abstract/exprestion at the Jewish Federation’s Kripke Library, sionist styles in my painting,” he said. “My he discovered Jewish paper-cutting. After hamsot are pretty traditional, too, as far as it looking at the technique, he recalled saying to can be said that any Judaic art falls into any himself, “‘This looks interesting,’ and ‘I can do traditional category.”

Calling himself a very visual and tactile perthat!’” After beginning to connect with Jewish art, he decided to intensify his exploration of son, Christensen said that “because of the comJudaism. “It made me very aware that I had to bination of those two, I get so many images in continue studying and go deeper, to under- my head. I think in pictures, so I’m able to stand what I wanted to create. Much of my express what’s in my mind through my art.”

Recently, he has been working on pieces earlier work was based on Torah, so I had to he calls his ‘Angel Series.’ know what I was talking about.”

through art.

“It’s very rare that kids don’t like to do art,” he said. “The real challenge is that they aren’t all capable of abstract thinking, so there’s a lot of working through things so they can see things a little differently.

“I think most kids are natural artists and it’s just a matter of teaching them new skills.”

Among his favorite art projects with his students have included a quilt panel project for the Yom Ha’atzmaut 60th anniversary (the finished quilt is on display in Israel), and another project in ‘Mr. C.’ helps his students mix up paint for a proj- support of Israeli soldier Gilad Shalit. ect during his Monday Moadon class.

Christensen currently teaches art for “I was thinking about the early artwork of BESTT’s Monday Moadon program, which the Catholic Church, which was actually offers optional enrichment classes geared to executed by Jewish artists – a lot of the wood families who want their children to delve a litcarvings on the doors, and on the cathedrals tle deeper into Judaism, along with those who -- and I thought it would be interesting to enjoy the arts. The program is open to all sectake that high-church art and transfer it into ond through seventh graders in the Jewish something Judaic, and do a little twist on it,” community, regardless of synagogue affiliation. he explained. “From the Judaic standpoint, In Christensen’s class, students focus on we think of angels as not male or female – Jewish artists and their work, as well as difthey don’t have a human form – but in our ferent styles and schools of art. And while minds we picture them that way.” the class is not technically a study of Torah, When he began teaching at Beth El’s the students are assigned some Torah readHebrew High School, 17 years ago, he devel- ings so they will understand the projects oped a four-year art curriculum that includ- they’re creating. ed paper-cutting, a theory class entitled “I love seeing the kids blossom and “What Is Jewish Art/What Is a Jewish express themselves,” said their teacher, who’s Artist,” painting, Jewish art history, and hol- affectionately known as ‘Mr. C.’ “Art touches iday-art themes. Students were mesmerized an emotion in them; there’s a connection to with paper-cutting, he said. “They loved it - the history of Judaism, whether it’s with - it was a completely unique art form to Torah or something else.” them.” He also offered paper-cutting classes As he enriches his students’ minds, teachfor adults, and cited one student – a doctor - ing at BESTT has also enriched - as “my best adult student, ever. Of course, Christensen’s life, as his own sense of Jewish he was a surgeon,” he joked. awareness has grown. And, when asked how Christensen’s dedication to his BESTT long he plans to share his talents and vision students is evident to all who know him, and with the synagogue’s children, he answered he loves helping them find their own voices unequivocally, “‘Til I drop.”

Coming Soon to the Ruth Sokolof Theater March 30 – April 5

3 New Israeli Films

Once Upon a Time in Anatolia First-Run (Turkey)

Presented with the Natan and Hannah Schwalb Center for Israel and Jewish Studies at UNO and the NU Foundation.

“A gorgeously shot crime story with emotionally layered characters and an indelible atmosphere of unease.” (Globe & Mail) Wednesday, April 4, 7pm

Hell & Back Again 2011 Academy Award Nominee: Best Documentary. Presented with Metropolitan Community College’s Military & Veteran Support Services department.

April 6 – 12

Chico & Rita First-Run (Cuba) Academy Award Nominee: Best Animated Feature.

Thursday, April 12, 7pm: RESTORATION (dir. Yossi Madmoni), with a post-show discussion.

Thursday, April 19, 7pm: HAPPY YOU’RE ALIVE with director Hilla Medalia in person.

Date TBD: FOOTNOTE (dir. Joseph Cedar), with a postshow discussion. Academy Award Nominee: Best Foreign Language Film.

Thursday, May 3, 7pm April 6 – June 14

The Last Survivor 2010

Film Streams Repertory Series: Film Noir

Special screening with director Michael Kleiman in person. Presented with the Institute for Holocaust Education.

Generously sponsored by Sam Walker.

More info, showtimes & advance tickets at filmstreams.org.

Save the Date! Film Streams’ Feature IV with special guest Jane Fonda Holland Performing Arts Center

Sunday, July 22, 2012

Honorary Chair: Susie Buffett

Out

Dining

March 30, 2012 | The Jewish Press | 31

Dennis Kardon

by BERT LEWIS “Fool with the sculpy material that kids used to make small To say the Jewish Community of Des Moines, Iowa should sculptures, which were then baked in an oven.” As much for be very proud of native son Dennis Kardon, might raise the fun as anything else, he worked the material into the shape question, why? of a nose. Then he recalls doing one of his wife’s nose, then A condensed version of the answer: Local boy goes to New a tiny nose like his little daughter’s. Then, for good measure, York and earns a place in the world of Art. Since there isn’t a he did his own nose. When they were all finished, he paintvalid reason for what I think of as “print shorthand”, we ed them. needn’t be so economical with words.

Still not taking the entire project seriously, he showed Dennis Kardon is, indeed, a native son of Des Moines, them to a friend, who happened to be a curator at the Jewish who arrived on the scene 61 years ago. Nothing unusual so Museum of New York. The curator was very interested but far -- parents Thelma and the late Fred Kardon raised him felt they could be “too controversial” to be included in a and his younger brother Randy in the conventional fashion show. Kardon found however, most of his Jewish painter of the time. Both had religious education, each had a Bar friends related to the work, were amused by it and generally Mitzvah, while loved it. Nor did they take it seriously. It became apparent going through there was an audience the public school system.

After high school graduation, Dennis’ plan was fairly simple.

He would go to Yale University and study every science course available to a freshman, while he d e c i d e d exactly which discipline of the arts The Jewish Noses

by Dennis Kardon would be his goal. Maybe there was always the vague thought of medical school, but not quite. He did, however, do exactly what for this particular work... these he set out to do during that freshman year at Yale.

“Jewish noses”. They were being talked about in many When the academic year was completed, Dennis says “I places, some very distant to New York. As if to cite an examrealized something I hadn’t anticipated. I really didn’t love ple of the distance the story of the noses had traveled, by all that science and wasn’t at all sure I wanted to continue in 2008, Dennis was contacted by a Dutch Curator: he was that direction.” That was when an important decision was doing a show at the Museum of Hygiene in Dresden and he made, and he chose to take one art course during his soph- wanted to exhibit those noses he had heard about. omore year. He says: “I liked it. I really liked it a lot, and I By now Kardon had taken some 50 noses and mounted had a teacher who was very encouraging.” them in an orderly fashion on some sort of “board,” for a Kardon went on to take as many art courses as he could more pleasing display. He had also devised a particularly during his Junior year of college, and during the summer of clever way of fixing them to the board, which he himself that year participated in a summer program at Norfolk had to do. All of which meant that when he was invited to College. “show the noses,” he was also invited to accompany them If there was still a question in Kardon’s mind regarding his and to mount the show himself. This has resulted in numerfuture career, it must have been clearly answered during his ous trips to many countries, for the artist... who still thinks senior year at Yale. He had the opportunity to visit New York the noses are less than a serious piece of work. People in through the study of art history and New York Art of the places like Los Angeles, Chicago and New York as well as 70’s. His description of the experience easily convinces a lis- other cities in this country have viewed the piece as a seritener this was where he wanted to be, and what he wanted to ous work of art. So be it. do. He learned of a special program which offered the secAs an ethnic piece of work, it’s more than interesting that ond semester of senior year in New York in Independent Jewish Museums in both Berlin and Munich have invited Study. He applied and was accepted. His earlier experience Kardon and his work to come and share with their visitors in the heart of the art world allowed him to feel comfortable this unusual example of “modern ethnic art.” If you Google in such an arrangement, and at the risk of sounding trite, the Dennis Kardon Artist, you’ll find much about him and his rest is history. Dennis graduated in 1973 and perhaps it’s fair work of the past thirty plus years. And if you specifically to say formally began the long hard road to success in the google “Dennis Kardon Jewish Noses,” you’ll find pictures world of art and painting. and fascinating discussions about those noses, as well as It’s also fair to say that Dennis Kardon has worked at his comments regarding how the piece has been received. craft since that time. His earliest work was abstract art, and After one of the shows in the Berlin Museum, a Russian while he’s visited many other styles, he says there’s always a curator expressed much interest in the piece, indicating he’d representational reference to the abstract in his paintings. like to own it. For several years there was talk between the Through the years, there have been opportunities to broad- prospective buyer and the artist, and finally, after what en his views on what he’s doing, such as a wonderful experi- seemed like an endless period of time, the Russian claimed ence at Yaddo, a sort of “retreat’ for artists, poets, writers and he had finally managed to acquire the price and declared he any other of the Arts in general. Kardon applied and was was serious about the purchase. I need to confirm with accepted for the three week stay. While he says he “didn’t pro- Dennis whether or not the noses are now in their new home duce any work, I met many interesting people and felt ener- museum in Russia, or if the piece has yet made the trip. But gized by the time I spent with them”. This was probably back for sure, the Russian is now the owner. Dennis (who hapin 1998, and about that time he was doing what he called pens to be my son-in-law) still will chuckle when discussing “flesh paintings”. He would work with a model, and zero in on the origin of this work. one particular place on the body, and paint it. It might have The noses certainly represent an important place in his been a mole, or an ear, or an eye, some specific body part. He body of work, but, he paints every day, in his studio. His called them “flesh paintings,” and still does. Something very work always, as he himself says, has the flavor of the interesting came out of those flesh paintings, almost by acci- abstract, but he paints what interests him and has come a dent, but something very important in the work of Kardon. long way from who he was when he took that first art course “Those paintings began to get some attention and at that as a sophomore at Yale. Will the Jewish Noses be thought of point I did a series of them. After I did the series, I did some as the single piece of work to bring him his own special place watercolors of eyes, lips etc. I had an opportunity to show in the world of contemporary art? Time will tell, and Dennis this work in a gallery that featured artist made design Kardon is an artist. Who knows what’s next? objects. Again, I used body parts as models for little sculpOne last item about The Noses: By now, they have been tures. This turned out to be another opportunity to spotlight seen in three different cities in Germany (Dresden, Munich Kardon’s unusal “miniature” work. A friend who saw them and Berlin), in Belgium and in Vienna, before being flown was interested in what he called artwork that represented to the Jewish Museum in Russia. Not to mention the “Identity Ethnic” objects. He urged Dennis to do more of American shows. And there you have it. At least one reason such work, maybe even some “Jewish noses”. This wasn’t all for Des Moines to be proud of Dennis Kardon, the artist taken seriously, but almost as a lark, he began what he called who created The Jewish Noses.

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The dancing soul of Julie Phillips

by ANNETTE VAN DE KAMP-WRIGHT Editor of the Jewish Press For some artists, it’s all about the work. For some, it’s about expression, about a new way in which to see the world, a way to interpret life. For some, it’s about being subversive, innovative, different, political, irreverent, emotional or nostalgic. Maybe all of the above. Coincidentally, it is also about what the public sees; sometimes only marginally related to the artist’s original intent.

Julie Phillips is one of those artists who cannot help herself: everything she touches becomes something more than it was in a previous life. Julie is married to Eric, who is a spinal surgeon at Nebraska Spine Surgeons; they are the parents of David (26), who works in regional and international sales and marketing at Elliott Equipment, Jacob (24), a mechanical engineer at Con Agra Foods, Lilly (17), a senior at Westside High School and Eva (15), a sophomore, also at Westside.

People say Julie has ‘style.’

What that means is, she has an eye for beautiful things, not only in her paintings, but in any context; in my family, when we improve a purchase by giving it a more exciting layer of paint, or create a piece of artwork out of what used to be a plain front door, we say it’s been “Julie-fied.” She has that effect on people. Spend five minutes in her house and you’re ready to go home and completely transform your furniture.

Is being a Jewish artist different than being an artist?

No, I don’t think it is different except that you may intend for your Jewishness to drive the content of your work. I do think that all art is essentially autobiographical at some level, so being Jewish would find a way into ones work. I remember years ago taking the Friedel Jewish Academy students to Joslyn to see a Michael Goldberg exhibit. There was a large painting of a ladder in the show. Knowing the artist was Jewish, the children were sure it was a reference to Jacob’s Ladder, but when the artist answered a series of questions given to him by the students, he said it was actually referring to the ladder that took Jesus down from the cross.

So, I guess you never know!

Can you describe your painting style?

The surface of my paintings is an amalgam of hand-made acrylic paints from powdered pigment, vintage fabric, lace, and wallpapers that are then accentuated with airbrush, oil stick, spray enamel and metallic thread. I create “landscapes of pattern” using graphic design elements borrowed from the world of textile design (such as the climbing rose pattern found in old English chintz) and architecture (such as the iron work on a Venetian balcony). I express these images in palettes often inspired by their sources but at the same time reinterpreted in a modern, unexpected way.

Does the art you make spill over into other areas of your life?

I have always been making art in some form or another since I was a child. When I am creating either alone or with others, I am most happy. I feel that creating expands space.

My need to create propels me from one point to another; it has been that way my entire life. There are moments of yearning that can only be satisfied meaningfully for me through art. When I am creating, time stops, energy flows, I feel exhilarated and love life; my soul dances.

Is painting a “job?”

It can be. I find the “business” of art to be painful and most “ job-like” for me personally. Of course I am differentiating between a “job” and meaningful work. Being an artist of course can be a meaningful career, and it takes a lot of work and time to make it that way.

If you couldn’t paint, what would you be doing?

I love to do so many creative things. I once went through a knitting phase that kept me in the same spot on our sofa for 9 months. Lately I have been thinking that I would like to learn how to design my own dresses. Maybe I will take some lessons to improve my sewing abilities.

How important is color to you?

Color is everything to me. I LOVE color! I love remembering moments when I have seen beautiful color. Color can

stop me in my tracks and take my breath away. I remember one such moment when I was walking back to my apartment after class while living in Venice, Italy. It was sunset and I was walking across a quiet piazza. A young beautiful couple was strolling through on their way to dinner (or so I imagined). She was wearing the most amazing rich red-violet chiffon dress and the breeze made it flutter and it was like a creamy stroke of oil paint against the yellow ochre color of the entire dusty piazza. I just froze and stared as she crossed the piazza. I didn’t want her to leave. I paint that combination in my mind and have tried to recapture it on my canvases. It is a precious memory to me.

Who is your favorite artist and why?

Artist influences (oh so many!): My students and children, Arshille Gorky, William DeKooning, Vuillard, Matisse, Philip Guston, Mondrian, Adolph Gottlieb, Christine Streuli, Chagall, Christopher Wool, Monet...Cy Twombly...

Veronese... I love reading Lawrence Weschler and seeing the creative connectedness in life.

What can people learn about you when they see your paintings?

I feel that there is a “whole truth” in our human need for beauty and calm, for hope and comfort, and art can help illuminate that place for us. I am an optimist and, in my work there are no reminders of what is difficult and dark in the world.

The beauty of creation is what I am drawn to, and my work seeks to envelop the viewer in an atmosphere of color and texture.

Describe how you got here?

My undergraduate studies were in Psychology and Art History. I worked as a counselor in various jobs such as with heroin addicts in the Baltimore inner city. I married and became a “ play at home” mom raising 4 wonderful children.

In order to share my creativity with my children, I co-developed and implemented an art program at Loveland elementary school called Art Smart that offered a curriculum of artist based enrichment that was completely volunteer driven. After teaching at Loveland for many years, I shared the program with Friedel Jewish Academy when my girls began attending the school. Recently I decided to fulfill a life long dream to study painting at the New York University Masters Studio art program. I spent 3 fabulous summers in Venice, Italy and New York City studying my passion. I graduated in 2009.

Where can we see your work next?

Right now my work can be seen in my studio, at Anderson O’Brien gallery and on the web at juliephillipsart.com.

What is it that people who aren’t artists misunderstand about your process?

People think that the work is done with patterned fabrics and are intrigued by the fact that it is all rendered in hand made paints.

Why do you teach at Friedel?

I began teaching at Friedel when my daughters Lilly and Eva began attending the school. I love being with the children and in such a vibrant and loving environment. The staff is so supportive of the arts.

What happens when you are in the room with those kids?

After all the enthusiastic hugs we settle into making art and learning about artists and artistic styles and movements.

I strive to teach them art appreciation and an art vocabulary so that they can talk about art and see the meaning in art making. I think it is important for children to learn how big the world of making art is and that there are so many ways to express their creativity and find their place in it.

Why is an art curriculum important for an elementary school?

An art curriculum is so important for many reasons. I think nurturing individual creativity is paramount to helping each child offer its unique contribution in this world.

Art making builds confidence through problem solving and teaches empathy and understanding through realizing and validating the points of view of others.

What’s next?

Well, I am thinking about expanding my teaching to private lessons and am getting ready to start a new series of paintings in my studio... and I want to make those dresses...

March 30, 2012 | The Jewish Press | 33

The fabulous Joslyn

by ANNETTE VAN DE KAMP-WRIGHT ignored the looks). I would have missed the thing as an average day. Running a place like Editor of the Jewish Press horror on my children’s faces upon finding this means staff meetings, board meetings, This story should start off with a confes- the Jackson Pollock missing, and their relief fundraising, social events, many walks sion: I have wanted to write about the Joslyn after being told what “on loan” actually through the museum, and travel. “I am conMuseum for a long time. So when sugges- meant. Teachable moments are around stantly in touch with other tions for this special issue started pouring every corner at the Joslyn. in, and someone suggested we interview Jack Becker, Executive Director of the Joslyn and Temple member, I jumped. Besides, an art issue without a story about the Joslyn: we shouldn’t speak of such a thing.

The Joslyn Art Museum was a gift to the people of Omaha from Sarah H. Joslyn (1851–1940) in memory of her husband, George A. Joslyn (1848–1916).

George was the richest man in Nebraska, and both Sarah and George felt that “money made in Omaha should be spent in Omaha.”

I for one am forever grateful to Sarah and George. Countless hours we’ve spent rden at dusk. en and Discovery Ga rd Ga e as a family hanging out there, kids splashur pt ul Sc n undatio The Peter Kiewit Fo ing in the outside water features in the museums,” he says, “and am always summer, throwing coins into the inside The Joslyn Art Museum’s making contacts far and wide. We’ve loaned fountain in the winter, visiting and revisiting mission states that it “collects, preserves, and to so many places, for instance, the Musee old favorites and staring wide-eyed at what’s interprets the visual arts of the highest qual- d’Orsay, the Louvre, the Art Institute of new this month. Okay, except for a short ity, fostering appreciation and enjoyment of Chicago, the San Francisco Museum of the hiatus when our daughter was three and art for the benefit of a diverse audience.” The Arts, and the Boston Museum of the Arts. couldn’t stop herself from running full speed ‘diverse’ part of that statement cannot be Each day brings something different.” through the portrait gallery. You can only ignored. For a museum – any museum – to Jack is married to Lester Katz; Lester is get so many stern looks from others before be able to please and fascinate a public that Jewish, Jack is not, but once they made their you decide it’s time to take a break. has as many opinions as it has members is a home in Omaha, they became members of But those days are behind us, and that is a monumental task. And from the delightful- Temple Israel. “It’s the first time I’ve good thing. Imagine; I might have missed ly designed art-deco exterior to the treasures belonged to a synagogue,” Jack confesses, the opportunity to show my daughter that one finds both inside and outside (the Peter “and everyone has been tremendously welMexican folk art exhibit a while ago, with Kiewit Foundation Sculpture Garden and coming to both my husband and me.” He’s the sculptures of the nuns in various stages Discovery Garden opened in 2009), the no stranger to Midwestern hospitality: origof undress, leading to an extensive discus- Joslyn has accomplished just that: there’s inally, Jack hails from Minnesota. “Omaha is sion about the various cultural images of truly something for everyone. a great place where you can get things done,” women throughout history and why that bra For Jack Becker, who became the Joslyn’s he says. was showing on nun #4 (and this time I Executive Director in 2010, there is no such Jack graduated from Carleton College in

1986, and went on to study American Art at the University of Delaware, where he earned his PhD in 2002. He added an MBA from the University of Michigan, and along the way did internships at the Minneapolis Institute of Arts, the Whitney Museum of American Art, and the Franklin Furnace in New York. He worked as an assistant at the National Gallery in Washington, and eventually became the Curator at the Florence Griswold Museum in Old Lyme, Connecticut.

Next came Cheekwood Botanical Garden and Museum of Art in Nashville, Tennessee, which he joined in 2002, and where he eventually became President and CEO until he and Lester made the move to Omaha.

Jack says: “The Joslyn has an outstanding reputation beyond Omaha; our collection is known far and wide.”

So how does he plan to build on that?

For one, he wants to do it by bringing in new technology. “We invite schools, and organize all sorts of programs for a variety of ages. We do programs specifically designed for teens, such as when we bring them in at night and feed them pizza. We’re bringing in iPods, we’re on Facebook, and we use Twitter, anything to engage the audience.”

There are Joslyn classes for preschoolers, youth, and for adults, and they are offered year-round. Class themes are inspired by artworks from the Museum’s permanent collection and special exhibitions, and they incorporate visits to the galleries and gardens into the art-making process. On the Joslyn website, one can find a multimedia link that allows for a very rich experience.

Then there’s something called SCVNGR: when you download the app to your mobile Continued on page 34

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34 | The Jewish Press | March 30, 2012

Matza, Matzah, Matzo, Matzoh, Matsa, Matsah, and Matze

by OLIVER B. POLLAK Anticipating Passover includes rooting out the chumetz, turning the kitchen upside down with Kosher for Pesach pots, pans, dishes, cutlery, and planning the menu, inviting guests, and attending Passover food demonstrations at local supermarkets.

This year pesach was different from all other years. The Jewish foodies decided to have a matzah tasting contest to benefit the Kosher Culinary Institute. E-mails went back and forth as the committee worked out the details.

After checking the Jewish Community Center calendar for potential scheduling conflicts, the date was set. Invitations went to matzah manufacturers to show their stuff at the JCC. Domestic, Israeli and European matzah were subjected to blind tasting by a carefully selected panel nominated by the synagogues and other community groups. El Al airline donated airplane eye covers to ensure blind tasting.

The International Quilt Study Center & Museum and The Robert Hillestad Textiles Gallery at the University of Nebraska at Lincoln provided vintage matza covers. Local donors provided transportation by donating their TWA frequent flier miles.

Press releases went to the local and international newspapers and the Jewish Telegraphic Agency. Billboards proclaimed, “You don’t have to be Jewish to eat Matzah, just a little meshuga.” Sidewalk salesmen turned in their sandwich and hoagie outfits and donned matzah boards.

Judges with sophisticated palates, reputations for integrity, and years of blessing the matzah were asked to rate matzah similar to the Zagat rating of restaurants, Urban Spoon, Yelp, and Wine Spectator and Parker’s wine rating. The event had the excitement of the cooking channel shows Iron Chef, Chopped, and Cup Cake Wars.

The unleavened Sanhedrin included Madonna, enigmatic precursor to Lady Gaga; Joan Nathan, leading Jewish foodwriter; George Soros, a J Street supporter; Alan Dershowitz, outspoken critic; Mrs. Ruth Madoff (she needs good publicity); Hadassah Lieberman; President of Hadassah; Israeli consul from Chicago; Chicago Mayor Rahm Emanuel; Bob Wolfson from the ADL; Minnie Driver (remember The Governess, 1998); and the Regional AZA and BBG Presidents.

Entrants included Haddar, Manischewitz, Osem, Rokeach, Shmura, Streit, Yehuda, Rakusen of London founded in 1890, and locally sourced artisanal yad-made certified organic producers. Some wanted to include categories for thin salt, thin unsalted, whole wheat, spelt, egg and onion, egg and yolk free egg, but simplicity prevailed. I

BBG Ar tistr y

know matza when I see it.

The matza was judged on feel, look, shape, smell, color, taste, texture, tensile strength, breakability, spreadability

accommodating butter, cream cheese, peanut butter and Israeli raspberry and apricot jam, cracking and leaking through the slits, aftertaste, and digestion.

Judges had the choice of tap, still or seltzer water to clear their palates between tastings. The acid test was which matzah would they be most willing to eat for an entire year.

Not all matzahs are alike.

Some Jews adhere to certain brands. Some cannot live without Manischewitz (recently purchased by Moroccan born Jews), some cannot live with it.

But the biggest difference according to Rabbi Gil Marks in his Encyclopedia of Jewish Food (2010) is the matzah most of us are familiar with differs from the soft matza prepared by many Mizrachi, some Sephardim, Italians and Yemenites. Baked daily it is warm as well as soft. Gil Continued on page 35

Joslyn Art Museum Continued from page 33 device, you can follow instructions and earn badges once you are at the museum.

“We are here to connect people,” Jack says, “and make sure the Joslyn stays strong and remains a cultural leader for current and future generations. In doing that, technology is a great tool, especially when you try to reach the next generation of art patrons.” With that comes a fabulous website that is one of the best in the business, and powered by Waitt Interactive, the same company that is responsible for the Jewish Federation of Omaha’s new online home.

Of course, not everything lives in the cloud: much of what continues Jack Becker to draw visitors is the very extensive permanent collection. Since 1931, it has grown to include over 11,000 works, which represent artists and cultures from antiquity to the present.

Highlights include Greek pottery; Renaissance and Baroque works by Titian, El Greco, and Jacob Van Ruisdael; nineteenth-century French paintings by Jules Breton, William Adolphe Bouguereau, and Jean-Léon Gérôme; and Impressionist masterpieces by Camille Pissarro, Auguste Renoir, and Claude Monet.

Joslyn’s equally renowned collection of eighteenth and nineteenth century American art includes portraits by James Peale, Mary Cassatt, and Thomas Eakins; genre paintings by Severin Roesen, Eastman Johnson, and William M. Harnett; and images of the American landscape by Thomas Cole, Thomas Worthington Whittredge, Albert Bierstadt, and Thomas Moran. The twentieth century is well represented with major paintings by Grant Wood, Thomas Hart Benton, George Ault, Jackson Pollock, Kenneth Noland, and Helen Frankenthaler, and contemporary works by artists including Robert Irwin, Donald Judd, George Segal, and Martin Puryear. (Source: www.joslyn.org) So which of the numerous pieces is Jack’s favorite? “I can’t pick one art piece. I think, if I had to choose, I would say it’s the building itself that’s my favorite,” he says. “It comes alive at night.”

The Joslyn, I know, is already a familiar destination for most Jewish Press readers. But just in case you’ve never been, or if it’s been a while: you should go. Take it from someone who didn’t grow up here, and spent her youth being shlepped by a bossy artist uncle from museum to museum: the Joslyn can compete with the best of them. For more information, and to become a member (Jack says we should), call 402.661.3858, or visit www.joslyn.org. While you’re there, check out the Joslyn’s latest exhibit, To Live Forever. It includes more than 100 pieces of Egyptian art on loan from the Brooklyn Museum, and explores the Egyptian’s beliefs about life, death, and the afterlife; the process of mummification, funeral conduct, and the different types of tombs, and will be available through June 3rd.

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March 30, 2012 | The Jewish Press | 35

A household name in giftware

by SYBIL KAPLAN Go into any giftshop in Jerusalem and the pomegranate design is there on hamsas, jewelry boxes, salt and pepper shakers, matchbox covers, keychains, evening bags, wall hangings, varied embroidered items, and a myriad of religious items. They are the distinguishable mark of an Israeli artist.

In the Talpiot neighborhood of Jerusalem, in an alley off Yad Harutzim 6, at the end, and up some stairs through a blue painted door is the showroom, storage area, work room and office of Emanuel.

does he use it so often? “It’s a very nice fruit, we bless it on Rosh Hashanh, and it has a very interesting shape, like a crown on top. I also like the color.”

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Above: Yair Emanuel with wall hangings and left, a pomegranate dish.

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The rather shy, ordinary Israeli man in his 40s in slacks and a long sleeve, collarless shirt is Yair Emanuel.

How does he feel to be a “household” name?

“I don’t think about it,” he says. “I don’t want to think who is buying and where are my things. If I think about it, I will feel too proud of myself.”

And so one gets an immediate impression of a very talented, humble man.

How do you describe your style?

“A combination of all the new, mostly Judaica which is old, but I make it new and happy not heavy like silver. It doesn’t look serious,” he says.

How does he develop ideas? He does the graphics by hand on paper, then he scans them onto the computer where he does the measurements. After that, he makes the actual item.

What is your technique for wood? “First we paint the wood with white for background, then I draw an outline on the white, then I paint inside the lines. Finally, we put on varnish.”

How is the embroidery done? Embroidery is one of three types. “One is hand embroidery on painted cloth. Another is computer embroidery. The third is applique where we cut out the shape then embroider the patches.”

One of the ways one recognizes an Emanuel work are the pomegranates. Why

In addition to the wood and embroidered items, Emanuel has begun a new style with colored metal in wine cups, trivets and handwashing cups in deep shades of burgundy, silver, gold, wine and deep blue. He describes it as sand-cast aluminum.

How did Emanuel begin the art style that is known and seen all over Israel? He was born into an Orthodox family 48 years ago in the religious communal settlement Kibbutz Sha’alavim nearly 15 miles from Jerusalem. “I had a connection to Judaica from my family,” he says.

He studied art at the Bezalel Art School when it was located behind the Central Bus Station, taught art in Mitzpe Ramon, a town 100 miles south of Jerusalem. Then he started to create art to sell. In 1990, he made silk paintings by hand.

“Then I started with other fabrics and embroidery. I like to make new things.”

In 2004, he saw that the southern neighborhood of Talpiot was “empty and cheap,” so he opened his factory and showroom there.

Items in his showroom sell for 25% less than in town. He does shipping, and payment depends on the amount of things purchased.

His wife is a counselor; they have two children, aged 17 and 19. The 17-year-old son is learning art in a special high school for art.

In the future, Emanuel sees himself continuing as he is. “Every week I make two to four new designs. I like what I am doing and I like to make new things.”

A visit to his show room is a delightful experience and one always finds warm, welcoming, helpful staff and items beautifully displayed.

Matza, Matzah, Matzo Continued from page 34 indicates “Sephardic frozen matzas are widely available in America on the internet.” Perhaps this difference can be a discussion point for a panel of local rabbis and their spouses.

The Kripke Jewish Federation Library displayed Haggadahs and Pesach cookbooks and held a contest for the most wine spattered Haggadah. A well worn children’s Haggadah won.

Chabad set up a matza factory at the Jewish Day school, and used cookie cutters to replicate the animals on Noah’s Ark, dreidels, menorahs, and Stars of David.

The older children built a matza house.

Unfortunately, unscrupulous pranksters damaged the integrity of the contest. The overwhelming favorite of the judges was saltine crackers. Such a shanda that the lot of them were seduced by salt.

Matza in print featured commercial matzah boxes and matza themed books.

The Mouse in the Matzah Factory (2003), a children’s favorite, by Francine Medoff, is illustrated by Nicole in den Bosch. I taught Nicole’s mother at UNO and co-wrote an article with her son, Bernard, the Omaha Assistant City Attorney. Nicole, attended Westside High, earned her BFA at MICA, and illustrated The Shabbat Box (2001) as well as many non-Jewish themed books.

Matza 101, four years in the making, is a higher level trope than dummies and idiots. Jenny was born in Israel, and Debbie in Van Nuys. Although this is self published, they kitchen tested each recipe.

Next year’s theme is “Floaters and sinkers – the art of matzah balls” or “Gefilte Fish – fresh, canned and frozen.”

And use Facebook, twitter, and You Tube.

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Partnership2GETHER: Art, creativity, expression and so much more

by MARY SUE GROSSMAN sights – of flutes from around the world. The internationalAssociate Executive Director, The Center for Jewish Education ly renowned violist Vadim Gluzman appeared in the JCC There are a myriad of artistic options by which to explore Theater two years ago, mesmerizing the audience with his the world, touching one’s soul and making one stop to think virtuosity and warmth. Last spring, the Matte Asher Singers about – and often re-examine – an idea, an experience or a entertained on Mother’s Day, featuring a group of wonderbelief.

Through Omaha’s involvement with ful Western Galilee adults who delight in singing together Partnership2GETHER, numerous experiences have been -- and sharing their personal love of music. And at the end of and will continue to be -- provided to our community in April, the Yom HaAtzmaut Singers will kick-off Omaha’s exploring these options. celebration of Israel.

Omaha’s involvement with Earlier this month, graduPartnership began 15 years ate students of the Matte ago, and hundreds in the Asher Center for the Omaha Jewish community Performing Arts gave workhave been touched by the shops followed by an evening events and opportunities performance featuring modoffered through this amazing ern dance. Students from the program. Recognition of the Center, then called GaAton strong importance of the arts Dance, also performed in in helping make the peopleOmaha in 2006. Upon graduto-people connections fosation, the majority of the stutered through Partnership has dents move to national and been paramount since the international performing beginning. The importance is companies. Located on underlined with the inclusion Kibbutz GaAton, the program of the Arts Task Force as one is well known in Israel and of the five task forces in the beyond.

Partnership structure. The “I am continually amazed others include Education, at the talent and opportuniMissions and Marketing, ties we enjoy from our Regional Development and Partnership area” said Zoë Medical.

Riekes, Chairman of the Kim Goldberg is the U.S. Central Area Consortium.

Chair of Partnership’s Central “There are musicians, Area Consortium Arts Task dancers, photographers, Force. “My knowledge of actors, artists in residency, art Partnership was very limited festivals and much more. And until I was asked by Stacey the talent never seems to end!

Rockman to become involved Each time we visit the by creating an interactive art Western Galilee, we are introproject called, Sea of Dreams, duced to someone new, learn for our 2006 Omaha about a new project or experiSolidarity Mission in the ence a new performance.”

Western Galilee” stated Riekes adds “The art experiGoldberg. “It was an amazing ences invigorate me each and experience; Julie Phillips colevery time.” laborated with Stacey and me, Omaha has a lasting and including students from beautiful reminder of the Friedel, our mission participeople-to-people focus of pants and P2G volunteers in Top photo: Graduate dance students from Gaaton Dance Partnership as found in a set Israel. This project started me displayed amazing creativity and expression; middle photo: of three mosaics created duron a wonderful road of my CDC preschoolers were fascinated by the musical talents of ing the 2010 Maccabi Games. extensive involvement in Hagit Rosmanrin and Gil Bohadana; bottom photo: Matte While there was true artistry Partnership. The artists I have Asher singers entertaining at a Mother's Day concert. found in the talents of these had the pleasure to meet and with whom I have collaborat- teens throughout their sporting events, the teens also had ed are extraordinary. And I count most of them as dear the chance to express their other artistic talents in helping to friends.” create the mosaics during “hang time.” This project was One of Goldberg’s closest friends is Albert Ben Shlush coordinated by Kim Goldberg and involved Partnership who now serves as Goldberg’s Arts Task Force counterpart mosaic artist Dalit Ben Shalom and her assistant Neta Dror. in Israel. His “day job” is the Cultural Director for the City “Watching the kids become involved in the creation of this of Akko and the CEO of the Israel Festival for Alternative beautiful art was a delight” Goldberg commented. “They Theater which takes place each year in Akko during Sukkot. would often start slow, but their enthusiasm would quickly The event draws over 250,000 each year to the region and is take over. Whenever I now walk by the mosaics, which hang the second largest festival in Israel. Attendees explore the near the Jewish Press office, I am impressed anew by the variety of alternative, contemporary theater productions beauty that the teens created with the Israeli artists.” that take place day and night over a period of five days.

A new participant in the art opportunities through Goldberg had the opportunity to participate in the festival Partnership is Avery Mazor who will take part in the 2012 two years ago and is currently creating a new piece with Artist in Residency program taking place in May. Avery, an Israeli Ethnic Dancer, Liron Ben Yaakov, for the upcoming assistant professor of art and design at the University of 2012 Festival.

Nebraska Omaha, is eagerly awaiting the program. “When I “The energy, creativity and expression generated by the learned of the chance to go to Israel and work with the Artist festival are quite extraordinary” reports Goldberg. “The in Residency program, I was immediately intrigued” said artistic creations are new each year; it is an incubator for Mazor. “My mother is Israeli and I have spent time there upcoming artists and a platform for the artists to show orig- with family. To have the chance to return again and spend inal work. The excitement is nearly palatable throughout the time connecting with fellow artists and learn more about the five day event.”

Partnership will be wonderful.”

One of the groups, the Akko Women’s Theater, gave a perArt also took on a more serious role as a key element in formance in Omaha during the 2006 Partnership the Friendly Room opened in the summer of 2011 at the Performing Arts Series. Presented by an all-female cast, Western Galilee Hospital. The Central Area Consortium’s their unique theatrical language explored active social support was key in the opening of the facility. Providing involvement and gave the audience a unique and wonderful secure, comforting and confidential services to the victims theater experience. of sexual assault, the facility was specifically designed with The musical experiences Partnership has provided colors and artwork to calm and reassure the women and Omaha have been numerous and memorable, delighting children in need of the services. The therapeutic message attendees with the comment “when will they be back?” as a provided by beautiful hand crafted glass hearts which cover common refrain. The performances have included up-and- a wall in the medical clinic send a message of love and hope. coming talent represented by students of Keshet Eilon. The Another program supported by Partnership is Kivunim flute duo, Halil BaGalil provided a new and different avenue, which provides services for special needs young adults. A delighting young and old alike with the unique sounds – and Continued on page 38

March 30, 2012 | The Jewish Press | 37

The JCC Gallery

by ANNETTE VAN DE KAMP-WRIGHT Editor of the Jewish Press We’ve all been there, walked past it, and probably stopped to admire something: the Jewish Community Center’s Gallery has provided the community with rotating exhibits for many years. “Arts and Culture is an important part of what the JCC offers to our community,” says JCC Executive Director Aaron Rosenfeld. “We have a fantastic building, and our staff works hard to create a large variety of programs with high quality art.

Having great art exhibits is just one more way in which we try to inspire the community.”

The person responsible for those art exhibits is Lynn Batten, manager of the JCC Gallery since 2008. Lynn does many things, but negotiating with the various artists and planning the exhibits, sometimes months ahead of time, truly impacts what visitors experience when they come to the J. For many, the Gallery is a great first impression; for those of us who walk through every day, it is a nice reminder of the importance of art in our daily lives.

What is your job description, and how long have you been at the JCC? I started at the JCC in March of 2005, and it was my first professional job out of college. I graduated in May of 2004 with a Bachelor of Fine Arts degree from UNL. I was originally hired as the administrative and publicity associate, and then became the JCC Gallery Manager. In a nutshell, I work with Margie Utesh on all the marketing for the Jewish Federation of Omaha, which

includes PR and design for all the agencies, in addition to managing the Gallery.

How do you decide what goes on the wall?

Interested artists apply, and I review each portfolio. I like having a wide range of art styles and mediums in the mix. The only restriction I have is that the art has to be family friendly. Even though we have a gallery, this space is still a community center. We have many families and young children who walk through the space on a daily basis, and our exhibits should involve art that the entire family can enjoy.

The goal is to display visually interesting

and thought provoking content that generates conversations and provides inspiration to the viewers. I am also thrilled to have the opportunity to work with both new and established artists and can provide them a venue to share their work.

How many artists per year approach you?

Approximately 10 to 15 artists per year

contact the Gallery.

What is the strangest request you have ever had?

I don’t know that I’ve ever had anything that was super-strange... during five years in art school, you see a lot, so I think that has skewed my perspective and definition of what “strange” is. There was once an older man from Europe who sent me a brochure of his work.

He seemed particularly drawn to paintings of females in very suggestive dress and situations. I remember being irritated at his artist statement, because it said that through his work he was “immortalizing feminine charm and beauty.”

I’m sure, as a woman, I have a very different perspective of what constitutes ‘charm and beauty.’ His paintings were sensationalist and creepy, and so that did not end up in our Gallery.

How often do you have kids’ art on the wall?

Every May, we showcase work from the Pennie Z. Davis Child Development Center, and from Friedel Jewish Academy. Those exhibits coincide with the graduation ceremonies at the end of the school year.

What are the plans for the rest of 2012?

We have a good mix of solo exhibits and group showings this year. There will be many different mediums, from photography and painting/drawing to textiles. Most of the artists scheduled for 2012 are either local or regional. I am also working with some of the Continued on page 38

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Try a new children’s book this Passover Reviewed by SYBIL KAPLAN Pass Over to Freedom by Libi Astaire, ebook $2.99, Aster Press (kindle at Amazon.com, Nook at Barnes and Noble.com, ereaders@smashwords.comereaders@smash words.com).

Libi Astaire, a writer from Overland Park, Kansas, now living in Jerusalem, has just published the third in her ebook series of Chassidic/Jewish stories for the holidays.

Subtitled 15 Jewish Tales for Passover, it gives insights to the seder as well as a story for each of the seder’s 15 steps.

“The Passover seder is a time when Jewish families around the world gather together to retell the story of the Jewish people’s passage from slavery in Egypt to freedom,” Astaire writes in her introduction. This journey is through the Haggadah but to enrich the experience, she suggests reading a story from the Sages with each step.

Each step is explained, and a provocative idea is introduced for the reader to ponder. All of the stories are delightful to read. For example, for the Hamotze, Monkeys from Heaven is a story by Rabbi Elimelech of Lyzhensk; for dipping the vegetable in salt water, we read Are You Growing? a

story of Rabbi Hillel of Kolomaya; for Hillel’s sandwich, “Hold the Wry,” retells a story of Rabbi Tzvi Elimelech of Dinov.

The earlier ebooks on Chassidic/Jewish stories are: 36 Candles: Chassidic Tales for Chanukah and Choose Life! 8 Chassidic Stories for the Jewish New Year. Ms Astaire is also the author of Terra Incognito, a fascinating story of descendants in Spain of anusim, Jews forced to convert to Christianity in the Middle Ages.

She is also author of The Disappearing Dowry, a Jewish historical mystery set in England which won the 2010 Sydney Taylor Notable Book Award (an annual award for

outstanding books for children and teens which authentically portray the Jewish experience, by the Association of Jewish Libraries), and part of the Ezra Melamed Mystery Series, an imprint of Zahav/Targum Press.

The Elijah Door by Linda Leopold Strauss, Holiday House, $16.95 hardcover, 32 pp.

It must be very hard for children’s book authors to find new angles when writing about Jewish holidays. Sometimes they are successful and sometimes not.

This is a case where the Wyoming author of many books chooses an Eastern European setting for a Passover folk tale.

By far, the illustrations by Bulgarian-born children’s book illustrator, Alexi Natchev, who now lives in Delaware, outclass the story line.

Mr. Natchev was influenced by 18th and 19th century folk prints and chose the block or relief printing technique. He Continued on page 39

not care for it at all. It is all in the eye of the beholder. For the most part, though, people are very receptive and appreciative of what we show. I love hearing parents talk to their children about the work, and which piece is their favorite. Kids give the best reasons for why they like something!

Do you get any help from volunteers?

No, there really is no need. The artists are responsible for installing and removing their exhibits.

What other cool things do you do?

As an artist myself, I try to stay active in the art scene. I have exhibited work at numerous venues, including the National Museum of Health and Medicine at the Walter Reed Army Medical Center in Washington DC when it was still open. I also showed work at the Moscone Center in San Francisco, the Chicago Culture Center, the Morial Convention Center in New Orleans, the Army Medical Department Museum at Fort Sam Houston in San Antonio,

and the Evans Army Community Hospital and Soldier Family Care Center in Fort Carson, Colorado.

I have been privileged to work with the American Academy of Orthopedic Surgeons on two exhibits they organized. This past summer, one of my pieces was selected for display in Conan O’Brien’s temporary “Fine Art of the Flaming C” exhibit in San Diego, CA, that was in conjunction with the Comi-Con festival.

Locally, I’ve shown work at the Bancroft Gallery as well as the 2011 Annual Art Auction at the Bemis Center for Contemporary Arts. My art has also been shown at the Bemis Underground, Hot Shops Art Center, RNG Gallery, and the Tugboat Gallery in Lincoln. I participated in the J. Doe II project; my J. Doe is at Omaha’s Children’s Museum.

In addition, I’ve created benches for Children’s Museum fundraisers, and one for Sarpy County’s Plains to Planes Exhibition in 2007.

If someone in the community wants their art on the JCC wall, how would they go about it?

Applications can be found online on the JCC website, or people can contact me directly: call 402.334.6546 or email lbat ten@jewishomaha.org.

The JCC Gallery Continued from page 37 agencies to bring in more educational and historical/commemorative exhibits.

If you could pick any artist, any medium, any style, what would it be?

I can pick anything or anyone? I would pick Andy Warhol.

I love his work!

Why do you think it is important to have a strong art presence at the J? Because the goal is to display new work that generates conversation, and inspires the public. I also think it is important we provide this type of space for the many artists in our community.

What sort of reactions do you see from visitors?

It depends on what’s on the wall! That is the great thing about art: it is totally subjective. One person may look at a painting and absolutely adore it, and the next person may

Youth is the gift of nature, but age is a work of art.

A Polish/Jewish poet, Stanisław Jerzy Lec (1909–1966)

As our individual families gather at the Passover seder table, we recognize the family of agencies that make up Jewish Social Services.

The Rose Blumkin Jewish Home. Where our aged live with honor and respect.

Jewish Senior Outreach. Offering our elders programs and services that enhance the quality, comfort and dignity of their lives.

Jewish Family Service. Whose mission is to strengthen and preserve life in the Jewish community and the community at large through every stage of the life cycle.

The Rose Blumkin Jewish Home | 402-330-4272 | www.rbjh.com Jewish Family Service | 402-330-2024 | www.jfsomaha.com

Partnership2GETHER Continued from page 36 part of the program is “Shop for Meaning” where participants have the opportunity to sell their artistic creations.

The project provides a creative outlet, a sense of purpose and employment for the members.

Partnership is also providing a platform for artists to promote themselves through the “Art in the Western Galilee” website. The site intro states “Art is first of all a tool for the artist’s personal expression. This website will provide exposure for the work of the artists and the art in the Western Galilee to a wide audience, and it will clearly present the artistic and cultural values of the region, and they will obtain special significance in the experiencing of its creation and the experience of those who view it.” The site can be found at www.omanutbagalil. co.il. Please note the page will appear fully in Hebrew however a switch to English is a selection option.

Reporting on the other art opportunities in the region could go on for some time, but this will easily show the opportunities for artists and those who enjoy art are far reaching with Omaha’s involvement in Partnership 2Gether. In both Israel and in Omaha, there will be continual openings for art, creativity and expression for years to come.

Partnership 2Gether is an extraordinary global platform connecting 550 communities worldwide in 47 partnerships in Israel. A program of the Jewish Agency and the Jewish Federations of North America, Partnership is dedicated to connecting people and making a difference for Jews in Israel and America. The Jewish Federation of Omaha’s participation in the Central Area Consortium promotes personal relationships between the Western Galilee area, specifically Akko and Matte Asher.

Programs include cultural, educational, social, medical and economic programs.

For more information on Partnership2Gether and how you can become involved, please contact Mary Sue Grossman at the Center for Jewish Education, at 402.334.6445 or mgrossman@jewishomaha.org.

March 30, 2012 | The Jewish Press | 39

A fresh look at the Wicked Child the people of Israel to be God’s people, God provided the key: the service of Pesach. Whoever chooses the service of God, whoever announces on the doorpost of their house that this is a dwelling dedicated to service, that person TEDDY WEINBERGER will avoid destruction by meriting The festive meal is a centerpiece of Jewish God’s passing over their house. life, and on Passover the meal and what surAnd you dear child. I am afraid that if you rounds it - the Seder - becomes the defining were there in Egypt you would not have experience of the whole holiday. Oddly, at been redeemed. But thank God you are the beginning of the evening, the section in here. In this generation that has merited a the Hagaddah that speaks of the Wicked return to the Land of Israel, even those who Child threatens to undermine the holiday’s defy God are brought in under the wings of the Shehinah. But if you were there...

Who are you, oh Wicked Child. What makes you so angry? Maybe it’s something else that has you so upset. Perhaps what troubles you is “Whatever does this service mean to you?” You wonder why God passed over the Israelite houses but wreaked destruction in every Egyptian home. Yes, perhaps what troubles you is not the importance of service but the notion of chosenness. You wonder why this one nation was chosen from all the other nations on earth.

You cannot forgive this prejudice. Why did God kill them but pass us over? If this is your problem, then we will whisper in your ear that while service is important it isn’t everything. Before service there is chosenness. You scorn this chosenness dear child because you have gotten used to Credit: Sara Kranz at lubavitch.com examining everything superficially. From a good family feeling. After all, in our day and deeper perspective, the human being is the age we do not speak of wicked children but most precious creation because he bears only of children who act wickedly. My within him the image of God, and Israel is teacher Rabbi Lior Engelman directly most special of all nations because the Torah addresses the Wicked Child (I’ve freely was given to us. But don’t worry. We will not translated his words from the Hebrew). In use our chosenness to do bad. Precisely the the process we can learn something of what opposite is the case: we will act as a heart to the Hagaddah was trying to teach us here. the other organs in the body and we will What does the Wicked Child say: bring spirit to the nations of the world.

“Whatever does this service mean to you?”

Dear child we are happy that your sharp Who are you oh Wicked Child? What are words are said here and now because if you you afraid of? were there in Egypt you would have missed Whom are you fighting? out on being redeemed. But now everything Maybe “this service” bothers you? On this is different. Sit with us dear child. We are sad holiday of freedom perhaps you feel that that you choose to shoot arrows of evil at us. freedom should be perfect. Vacation with- We would be happy if you would ask rather out effort. Maybe like Cain you want to feel than challenge. If you have questions, ask.

God’s closeness without toil. You want God And even though you choose not to ask we to accept your offering without any inner are not worried about you. We are not worchange on your part. And so you cry out: ried because if our service is so repugnant to “Why the work? Why does God demand you then this is a sign that you are not apathat we work in order to be close to God?” thetic. Because you spoke so brazenly we You rebel against the pain of spiritual effort. will blunt your teeth, but all this demonYou are not prepared to limit your desires in strates our confidence in you. We are confiorder to ascend the Mountain of God. dent that you will not forever abandon the If this is the case, then let us reveal to you path of Torah and that ultimately you will an old secret: There is no greater freedom come to believe and to feel. Happy Passover. than the freedom of service, freedom from Teddy Weinberger made aliyah in 1997 the outer chains that control us. And we tell with his wife, former Omahan Sarah Ross, you, dear child, that God looks upon your and their five children. Their oldest three, work and not upon your accomplishments; Nathan, Rebecca and Ruthie, are veterans of God judges your path but not its results. the Israel Defense Forces; Weinberger can be Even back then, in Egypt, when God chose reached at weinross@netvision.net.il.

MID-CITY

Journal entry from Israel

Try a new children’s book Continued from page 38 carved images into wood and linoleum plates using U- and V-shaped gouging tools and sometimes a magnifying glass.

The raised surface of the plate, which defines the image, is then inked with a roller and printed by hand. Each print is then hand-colored with watercolor inks resulting in unique illustrations.

The story presents us with two families, the Galinskys and the Lippas, are next door neighbors in a shtetl in Eastern Europe in the 18th-19th centuries, and they celebrate holidays together. In fact, David Lippa and Rachel Galinsky are grown and in love.

A feud arises between the families when the Galinskys swap two fat geese for six of the Lippas’ hens. The feud grows so severe

they will not have seder together -- until David and Rachel confide in the rabbi and devise a trick to heal the disagreement.

Is this tale well written? Yes. Is it entertaining? Not really. Will children 4 to 8 years of age enjoy this tale? Perhaps.

It offers a different angle, and perhaps the best way to interest little readers would be to tie it in with the ancestors of one’s family. Telling a youngster that his or her great-grandparents came from a small town like this and could well have dressed like the illustrations or lived in a house like this would provide the best motivation to read the story. Coupled with asking the child how he or she would solve the dilemma of the family might be another reason to read the tale.

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Wishing you and your family Health, Happiness and Peace this Passover

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40 | The Jewish Press | March 30, 2012

The quilted life of Marge Bresel

by ANNETTE VAN DE KAMP-WRIGHT Editor of the Jewish Press Marge Bresel has been quilting since the early 1990s.

She is married to Jim; together they are the parents of Michael (31), Amy (25), and David (24). Marge started as a traditional quilter using only commercial fabrics, but when she went looking for more creative ways to express herself, she started exploring non-traditional and mixed media techniques. The result is a fascinating story, told in art pieces that are touchable in more ways than one. Marge’s pieces aren’t meant to simply hang on a wall for display and be looked at. Her work has a purpose beyond what one would expect.

“Quilting is a means of expression,” Marge says. “It’s visual and tactile, it’s a way to reach people and draw them in, in ways they might not otherwise experience.”

If you hear quilt, and think of your Bubbie’s bedspread, think again. “It’s a time honored tradition that originally was born out of necessity, to provide warm bedding,” she says. “Patterns were used, sometimes many times over. But in original art work, there are no patterns, just ideas and sketches.” What Marge does nowadays is a multi media art form that goes way beyond the thread and needle.

She adds photography, vellum, paper, tyvek (the same material is found in hospital garments!) and various fibers. “Art quilting is not traditional,” she says.

“Some techniques don’t include sewing at all.”

When Marge first got started, her children were still young, “They were very much a part of the process,” she says. “One of them even made some lap quilts for residents at the Rose Blumkin Home for her Bat Mitzvah project.”

Since that time, Marge’s projects have become more and

more experimental, and she has grown as an artist: “I believe every person’s art is original; I like to combine and experiment with many different techniques. My latest project incorporates photography and printing on cotton, silk and organza. It creates a very unusual effect.

Most of my work is with commercial cotton fabric, but I also dye and paint on cotton and silk.”

Marge has, over the years, enjoyed sharing her art with others: “I was in a group called LOVE quilters. We were funded by the League of Volunteers for the Elderly (LOVE) and a multitude of generous donors. We provided items needed by the Rose Blumkin Home residents, such as walker carriers, wheelchair bags, shawls, lap and bed quilts.”

That led to many other projects; apparently, Marge is not satisfied staying home and creating for herself. Instead, she enjoys sharing her work with the world in many different forms. She

has made countless challah covers and was part of the group that made the High Holiday Torah covers for Temple Israel, which adds a spiritual element to her experience: “Art, in whatever form, visual or auditory, can truly enhance a person’s religious experience,” she says. “It is a feeling that can go to the soul. It’s hard to explain, but very powerful when it’s felt. I once visited a Temple in Kansas City, where the common areas were filled with art of different mediums. I still remember the huge Chai carved in wood. There were weavings, stained glass, mosaics, sculptures and paintings everywhere.”

Marge has also participated in two large group projects; one hangs in a synagogue in Jerusalem, and the other is at Temple Israel here in Omaha.

She displayed three pieces at the JCC during the 2011 Midwest Fiber Art Alliance (MFAA) exhibit called Nebraska Squared, and those pieces, along with four new pieces will be shown in another MFAA exhibit called Plus One, at the Venue Art Gallery in Grand Island. The title of the exhibit refers to the use of all black and white materials, plus one color of the artist’s choice. That same exhibit will also come to the Jewish Community Center from July 1 through July 31. Another exhibit that features Marge’s work, Wicked Plants, will be shown at Lauritzen Gardens during the month of November this year. The title of the exhibit alone should motivate all of us to go see it.

If you are motivated to try this for yourself, Marge has some tips: “Most of the quilt shops in Omaha, Lincoln, and Council Bluffs give beginner’s classes. It gives any beginner a great start. Personally, I also recommend the quilter’s guilds, of which there are many: the Omaha Quilter’s Guild, the Pomegranate Guild of Judaic Needlework, and Jewish Quilters (also known as ‘Kosher Pickles’) are but a few examples.

“Art that comes from the heart or soul is sometimes hard to express in words, but it can speak just as loudly,” Marge says. That leaves only one question: How do I talk her into making me one?

March 30, 2012 | The Jewish Press | 41

The humanity of Annette Fettman’s art

by ANNETTE VAN DE KAMP-WRIGHT Editor of the Jewish Press Every day, the children at the Pennie Z. Davis Childhood Development Center play outside (well, when the weather allows, that is). When they do, they get to hang out with an intriguing figure: a colorful J. Doe, beautifully decorated by local artist Annette Fettman. Those kids may not know it yet, but that’s a big privilege.

Annette, wife of Cantor Leo Fettman, is one of Omaha’s most treasured and versatile artists. She came to Omaha approximately 37 years ago (but who’s counting?) and for years worked in the kitchen at the Rose Blumkin Home under the supervision of Rabbi Nadoff. She studied art at the University of Wisconsin at Madison, the Chicago Academy of Fine Art, UCLA, Creighton, and Bellevue College.

Over the years, she has left her mark on this community. In fact, it’s kind of impossible to go anywhere without at some point being confronted with something she created, and we are a better community for it. From the bronze Mezuzah at the entrance to the JCC Theater, to the beautifully painted Peace bench at the Blumkin Home; from the touching sculpture at the Institute of Holocaust Education, to the aluminum Holocaust remembrance sculpture at Beth Israel, her influence can be felt everywhere.

Much of Annette’s art carries the emotional connotations of remembering the victims of the Holocaust. Her husband, as we all know, is a survivor, and has spoken about his experiences many times throughout his life. The aluminum sculpture at Beth Israel in particular was created with cantor

Fettman’s parents, Jacob and Fani Fettman, in mind, as well as other members of their family who perished in Auschwitz alongside them.

The six Yahrzeit candles represent the six million; one can-

dle is hidden. In addition, her Zachor sculpture is used every year during Omaha’s Yom HaShoah commemoration.

“The heat and the gas released in the casting process reminded me as I worked of what happened to my husband’s family,” she said at the time. “The walls in the sculpture represent the Jewish people and their faith, which remains standing strong despite their persecution.” The sculpture was submitted for the 1981 National Holocaust Memorial Competition, and was one of 89 works by artists from throughout the United States to be shown at a special exhibit in New Jersey.

And then there’s her house. Filled to the brim with sculptures, paintings, and Judaica,

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it showcases exactly how versatile Annette is in what she creates.

“I like to try new things all the time,” she said, and it’s evident in everything you see from the spice boxes to Mezuzahs to the beautiful clay glazed Tzedakah boxes. But what leaves the biggest impression is the humanity of her sculptures, and the resilience they show. Art that is heavily influenced by such terrible history could very easily become dark and depressing; yet whatever Annette creates has an undertone of hope, and continuance. The message is clear: this happened, and it is horrible, and yet we are still here, and we are still human.

Many of her sculptures remind us that each one of the six million has a face, a name, and an identity. At the same time, her many Judaic themed sculptures remind us that Jewish life continues; ritual items like Mezuzahs and Shabbat candlesticks are not a memory, but a sign of a continuing and vibrant Jewish life.

Next time you visit the Blumkin Home, I recommend taking a minute to sit on Annette’s blue bench. It’s located right outside the computer learning center, and it carries a message by Rita Paskowitz: “Every language has a word for peace. Why not say it in yours?”. It’s a good message, and one we can all get behind.

42 | The Jewish Press | March 30, 2012

New books: cleaning robots, Jerusalem tunnel adventures and an Old World feud

by PENNY SCHWARTZ BOSTON (JTA) -- A vacuum-like robot that cleans the house and a spunky Israeli girl on an underground adventure in Jerusalem are among the characters featured in new children’s books for Passover.

This year’s crop offers more than the typical retellings of the Exodus story. Two books have Passover as a backdrop for entertaining and imaginative storytelling that can spark conversation about the popular holiday’s many rituals and traditions. One retells an Afghani folk tale that gives families a chance to discover Jewish life in an unfamiliar part of the world. A lift-the-flap format book is aimed at the younger crowd.

Here’ a look at this year’s Passover book offerings for kids: Izzy the Whiz and Passover McClean Yael Mermelstein, illustrated by Carrie Hartman Kar-Ben ($17.94 hardcover; $7.95 paperback); ages 3-8 In this delightful rhyming tale, Izzy invents a cleaning machine to help his mother in the ritual house cleaning before the start of Passover. Mom takes a rest and leaves Izzy in charge. Think Dr. Seuss meets robot vacuum cleaner: “Izzy pressed the red button, McClean lurched and whirred, He cranked the green handle, it belched and it purred. The hungry machine chomped ten books for its lunch. Gobbled the rug, and continued to munch.”

Trouble of the Cat in the Hat-type follows, of course, but all is neatly tidied up before the start of the seder. Hartman’s cartoon-like illustrations are playful and lively -- a perfect fit for the zany fun of this entertaining book.

Jodie’s Passover Adventure Anna Levine, illustrated by Ksenia Topaz Kar-Ben ($17.95 hardcover; $7.95 paperback; $12.95 ebook); ages 5-9 Award-winning author Anna Levine and

artist Ksenia Topazas, paired for the second time, bring ancient Jewish history alive in an adventure tale story featuring Jodie, a spunky Israeli girl who dreams of being an archeologist like her father. Jodie invites her visiting Amer-

ican cousin Zach, along with her older brothers, for an underground exploration of Hezekiah’s Tunnel, the famous secret water passage in Jerusalem’s Old City. There are secrets to discover about how the tunnel was dug in ancient times, along with spooky shadows and a treasure.

After the adventure, the family enjoys a Passover picnic in an outdoor park.

The Elijah Door, A Passover Tale Linda Leopold Strauss, illustrated by Alexi Natchev This folklore set in an Old World town (at times Poland, at times Russia) explores the Lippa and Galinsky families, who shared their lives and celebrated holidays together before the parents have a foolish argument over geese and hens. The families stop talking and even board the door between their two hous-

es, using side doors to avoid seeing each other.

But Rachel Galinsky and David Lippa are in love and plot a scheme, along with the village rabbi, to end the feud and bring the village together for the Passover seder. When it’s time to open the door to welcome Elijah, the hope of the prophe t’s presence helps heal the bitter and angry hearts of the parents. Alexi Natchev’s beautifully colored block prints evoke an Old World feel but also are playful and filled with expressive detail and movement.

The Wooden Sword Ann Redisch Stampler, illustrated by Carol Liddiment ($16.99); ages 5-8 While The Wooden Sword does not have explicit references to Passover, the picture book of an Afghani folk tale includes a character who disguises himself in a visit to a family -- a theme reminiscent of Elijah the Prophet stories often told at Passover. The tale is one that was part of Jewish life in Afghanistan for more than a thousand years, according to Ann Redisch Stampler, who won a National Jewish Book award for her retelling of the Yiddish folktale The Rooster Prince of Breslov.

In The Wooden Sword, an Afghani shah slips out of his palace late one night disguised as a servant. He is welcomed into the home of a young shoemaker and his wife celebrating the Sabbath. The shah wonders how such poor people could be so happy. The shoemaker tells his mysterious visitor he has faith in God that life will turn out as it should be.

Despite a series of edicts issued by the shah to test the man’s faith, the shoemaker remains content in his belief in God. The poor but wise shoemaker eventually teaches the shah about faith and persistence.

Carol Liddiment’s paintings portray what Afghani village life might have looked like with colorfully embellished clothing, floor pillows for sitting on during meals, men in turbans and the wife wearing a headscarf. In an author’s note, Stampler explains how she came to this Jewish retelling of the Afghani version of the story. The book sparks opportunities for discussion about Afghanistan as well as conversation about the diversity of Jewish life around the world.

What Am I? Passover Anne Margaret Lewis, illustrated by Tom Mills ($9.99); ages 2-5 A fun lift-the-flap book introduces young children to the customs and foods of Passover with easily understandable explanations and large, brightly colored, cartoonlike illustrations. “I am a mixture of apples, nuts, and a little wine. I am tasty and sweet,” reads the opening left-hand page. A bowlful of red apples and nuts is the clue.

Lift the What am I? flap on the right, and kids will be surprised by a young boy and his grandmother making charoset, reminding everyone of mortar used to build the pyramids. Other pages reveal other seder plate symbols, holiday candles, a Haggadah and a kids’ favorite, leaping frogs, to explain the Ten Plagues.

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March 30, 2012 | The Jewish Press | 43

The story of Morris

by BERT LEWIS As a small child, I occasionally heard the name Morris mentioned. Since I didn’t know anyone with that name, I would ask my Mom; her answers were usually too vague to satisfy. Until the time I asked again, and she must have decided I was old enough to hear the story. The story of Morris, or more often, Moishe. Before learning even one thing about him, I remember I felt there was a great mystery connected with this person. A mystery? In a Jewish family? How can this be? I don’t want to start in the middle, so let’s go to the very beginning.

depended on it to support his love of natural beauty. From his family home in Berkeley he painted countless seascapes, one of which I own and treasure.

Miriam shared his love of the arts and travel, and together they enjoyed many trips to France. I like to think it was one of his favorite places to paint. In fact, another of his paintings I own and love, is of a picturesque chalet in (I think) Normandy.

When I asked his daughter Kara about his painting, her answer was: “He always painted. He never stopped. In fact, at the end of his life, on the day he had his heart attack, he

First of all, Morris was my Mother’s brother. As young teens, they had the problems all kids have, and some seemed insurmountable, at least to Morris, or Moishe as he was called. He must have been a courageous kid, because one day, when things seemed unbearable, he ran away from home. He convinced recruiting authorities he was old enough to enlist in the Army, and thus began his new life away from family and home.

He was sent to France (this was World War I,) where he served his tour of duty.

When discharged, and he returned to civilian life, he went to northern California, not back to Omaha and family. Nor did he communicate with his father, step-mother or sisters. They hadn’t heard from him since the day he left home.

He found work in the lumber mills and must have been content with the direction his life was taking. He learned to play the violin in his new community, and he eventually joined an orchestra. We have to assume all was well until one day when he decided to leave for San Francisco.

In 1934, he enrolled in the Art Institute, probably his first opportunity to learn something about that which most interested him: art. At one point he was part of a student demonstration of painting and sculpture, and that was where and when he met Miriam, the girl who would become his wife.

This too, must have been where he learned the basic principles of how to “make art”. Painting was, from about that time, always part of his life. He painted all the time. Although he never was able to depend on his art to support his family, he always

was finishing a seascape he was working on for one of his grandchildren.” Kara remembers there “was always the smell of turpentine and oils, and he taught me so many things”. She still knows how to stretch a canvas and how to mix colors and what original names they were known as.

She remembers that painting and art had such a presence in her father’s life, it hardly seems possible to speak of one without the other. She says, simply, “he always painted.”

My uncle, the artist. The world of museums and curators never heard of him, but his work was enjoyed by many, and cherished by a few. In fact, one of my daughters has long ago made it clear that when family keepsakes are being distributed, uncle’s paintings are hers!

Ah, but what of the great family mystery... the old story of “who’s Morris?” Let me share a tender chapter of that tale. When my uncle married Miriam, and she learned that he had a family far away in the midwest, things changed.

Miriam insisted that he make an effort to find his family and to learn who was still around. He agreed, and I believe the very first gesture came in the form of a phone call.

My grandmother, Morris’s stepmother, received the call with some confusion - who wouldn’t? Then came the fear that some cruel jokester was trying to be funny. Finally, maybe after a repeat call, it was understood and accepted as something of a miracle.

Plans were made for a reunion visit, and that summer Morris and his bride came to Omaha. Dates are impossible to verify, but I believe I was 10 or 11 so it was 1935 or ‘36.

A very long time ago. My uncle and I immediately fell in love and I hated to leave his side. I also remember a return visit quite a few years later. I was grown up, married and had kids of my own. He was warmly welcomed by all of us, and how I wish there hadn’t been all those miles between my artist uncle and his family and us.

My cousin Kara is my connection to this dear man and his story. The mystery man who turned out to be the family celebrity!

Who knew?

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44 | The Jewish Press | March 30, 2012

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by JOSH FEIGELSON (Sh’ma) -- Of all the words we utter during the Pesach seder, the word k’ilu (in English, it’s translated as two words, “as if ”) rings most important. The word is found in Rabban Gamliel’s Mishnaic declaration: “In every generation, every person is obligated to see himself or herself as if he or she personally went out of Egypt.”

As if. This tiny phrase signals the rabbis’ awareness that, in every generation, our situation is not identical with that of our ancient ancestors. We have to enter an imaginative space, a play space, in which we suspend disbelief. We have to imagine ourselves in a different reality.

This act of imagining works in multiple directions. In one way, it reveals realities that otherwise remain hidden.

By imagining ourselves into the story, we see the suffering in our own lives and in the world that we might otherwise miss: By talking about the suffering, oppression, and liberation of our ancestors and imagining ourselves among them, we open our eyes to the power of those forces in the world we inhabit. The power of story and symbol can illuminate those things we prefer, consciously or unconsciously, to keep in the dark. It leads to empathy.

But imagining can lead us to conceal as well. It allows reality to become symbol. For many, the verse in the Haggadah, “Kol dichfin yeitei v’yechul,” “Let all who are hungry come and eat,” has come to be understood as referring to people who are spiritually hungry, just as those who are oppressed within Mitzrayim (Egypt) become people who are confined within the narrow straits (meitzarim) of lack of authenticity.

Though we might open the door, do we really go out and find hungry people to feed? In the rarest cases, perhaps we do. But for most of us (as my rebbe Avi Weiss used to say to us in yeshiva, “I’m talking to myself and letting you listen”), we allow the imaginative play of the seder to remain a work of theater. We let the words affect our inner lives, but we rarely act them out in real time; we don’t search for hungry people to share the Pesach meal. Our empathy remains a work of imagination, its ethical impulse confined to the theater of the seder night.

What keeps many from actually inviting in poor, hungry persons (again, talking to myself here), is fear for our safety.

And that’s ironic, given that Pesach is called Leil Shimurim, the Night of Watching, when we are told to go to sleep with our doors unlocked, confident in God’s protection.

Perhaps we’re concerned for our safety within our own homes. But more likely (at least for me), we fear confronting the gap between the hungry person’s reality and our own.

Suppose we take kol dichfin seriously, and invite poor persons inside. What happens at the end of the night? How do we say, “Thanks for coming” to someone who has no bed to go to in order to sleep? And if we do invite them to stay for the night, how do we make sense of the moment when we tell them they’ve worn out their welcome? Or even if they’re not homeless, but simply hungry, how do we justify not inviting them back whenever they need to come? On what moral basis can we do so?

The real fear, then, is the moment I realize that I’m not as good a person as I thought, as I hoped, I was. It’s the moment when my identity is tested. Here I thought I was a generous Jew, and it turns out that when confronted with real hunger, real need, I don’t have what it takes. I can’t bring the hungry person into my own home to feed him.

Playwright/poet Bertolt Brecht wrote of the man on the corner of 26th and Broadway who offers the homeless a bed for the night. It won’t solve the problem, he says in his poem, A Bed for the Night: But a few men have a bed for the night For a night the wind is kept from them The snow meant for them falls on the roadway.

One mitzvah is a step on the road to geulah (redemption). But at the same time, as Brecht writes earlier in that same poem: It won’t change the world It won’t improve relations among men It will not shorten the age of exploitation.

We live in an age without korbanot, sacrifices. or so we are led to believe. But perhaps the korban Pesach for our time is precisely this struggle: For one night, can we make a real, painful sacrifice? Can we confront our deepest fears?

Can we invite the hungry in?

Rabbi Josh Feigelson is educational director of Ask Big Questions (www.askbigquestions.org) and a spiritual leader of the Evanston Orthodox Minyan in Evanston, Illinois. Reprinted with permission from Sh’ma (shma.com) March 2012 as part of a larger conversation on what happens around the Jewish table.

March 30, 2012 | The Jewish Press | 45

The beautiful art of Abram Rabkin

by ANNETTE VAN DE KAMP WRIGHT In October of 2011, I received an email from a woman named Leah Kosinovsky. Leah and her family came to Omaha from Russia in 1980, sponsored by the Jewish Community.

She wrote to tell me about her brother, the Russian artist Abram Rabkin, and the honor he received from Russian president Dmitry Medvedev. I asked more questions and she sent me a link with images of 41 of his paintings; it was in Russian, so I had to copy and paste it. I let it play all the way through, five times in a row, and allowed myself a moment to breathe in the middle of an otherwise hectic day.

After all, this is the best kind of research.

Rabkin lives in St. Petersburg; born in 1925, in the small town of Bobruisk, Belarus, he is a representative of the Russian Realism School of painting, and a master of impressionism. He began taking art lessons at the age of 11.

By the time he was 15, he was admitted to Marc Chagall’s School of Art in Vitebsk. He subsequently earned art degrees from the I. Repin Institute of Painting, Sculpture, and Architecture, and the V.A. Serov Artistic School, both in St. Petersburg.

His primary medium is oil on canvas. He has participated in more than a hundred exhibitions from Moscow to Minsk to Omaha; on April 2011 he was awarded the title of Meritorious Artist of the Russian Federation. This is a big deal: Meritorious Artist is an honor awarded for exceptional achievements in visual arts. Leah is right to be proud of her brother, and eager to share the good news with the Omaha Jewish community.

Many of Rabkin’s paintings are on permanent display in museums in Belarus and Estonia, and in private collections in, among other places, France, Japan, Australia and England.

Abram’s paintings of life in Bobruisk depict a side of Russia few of us can imagine. I admit, when I think of paint-

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ings of Russian Jewish life, it is hard not to immediately think of stark and somber shtetls, translated into the floating brides and escapism that Chagall is so famous for. Rabkin’s paintings

have no dreamy elements, no flying cows; what he presents us with, instead, is a real place, and it’s one we would gladly step in to.

“Back during the large Refusenik arrival,” Eunie Denenberg says, “Leah told Shirley and Buddy Goldstein about her brother, and his desire to show his work in the

United States. The Goldsteins, as always, were extremely generous in helping to get him and his paintings here.”

This is no surprise to anyone who knows Shirley and Buddy; they, of course, were the driving force behind many Russians’ ability to leave the former Soviet Union, and built many relationships with members of the Russian Jewish community. When in 2001 Abram Rabkin came to Omaha and exhibited 172 of his paintings, it was Shirley and Buddy who helped make it happen, together with Darlyn and Tom Fellman and the Nebraska Arts Council, as well as several other dedicated Omahans.

Eunie Denenberg was one of the people who worked on bringing the art show together: “I-Go Van and Storage, that’s Steve Nogg, were extremely helpful; we had Deenie Meyerson plan and execute a fabulous reception, including Russian food” she remembers. “Her daughters helped her. I asked an ad agency I knew to do the invitation, and we arranged with the Bemis Underground to hang and host the show. It was a gigantic success - we must have had a few hundred people. The interesting thing was that the guy wouldn’t sell one piece! Shirley and I were floored!

We were totally unaware of his thinking, to keep his art as a unit for a museum in Minsk.”

The Omahans also arranged for him to address an audience of the Omaha Symphony in the lobby of the Orpheum Theater before a performance of works by Russian composers.

Since he didn’t speak English, Leah translated.

In spite of Rabkin not wanting to sell any of the 172 paintings he showed, some artwork did eventually find a home in Omaha. Shirley and Buddy Goldstein donated two lithographs with scenes from Bobruisk to the community; they currently hang in the Rose Blumkin private dining room, for anyone to enjoy.

46 | The Jewish Press | March 30, 2012

Storytelling lends even more magic to the Exodus saga

by DASEE BERKOWITZ hand, we weave together a powerful story, NEW YORK (JTA) -- My children have filled with it’s own kind of magic, which carved out a role for me as storyteller, espe- includes rituals and texts that date from the cially at bedtime. After reading the requisite Bible, the Mishnah and the Midrash. three books cuddled on my son’s bed, he With the stated goals that “in every genermakes a soft demand: “Now tell a story.” ation one should see oneself as if one had In the late hour, my mind wanders to the outskirts of creativity. To produce a little late-night magic, super power strength and some basic facts are mixed together in the telling. But instead of drifting off to sleep, my son stays keenly engaged - interjecting, questioning, elaborating and correcting. When a story gets really good he’ll insist on acting out parts. While I never really follow a straight narrative line -who can keep any logical Dasee Berkowitz practicing her reading and storytelling skills sequencing so late at with son Morris. Credit: Dasee Berkowitz night? -- eventually we wind up with a happy ending. [personally] gone out of Egypt,” we are invitStorytelling is essential to being human; it’s ed to add our own voice to the story. In fact, the way we make sense of our lives and derive the Haggadah states, “all who expound upon meaning. Telling (and retelling) the same the Passover story shall be praised.” story as a group can have the same effect. It Reading ourselves into the story of the gives us a sense of who we are and shapes how Exodus of Egypt is essential to the Passover we act and interact with the world around us. ritual. As Avivah Zornberg, a Torah scholar During the Passover season, we all pointed out in a radio interview on become storytellers par excellence.

American Public Media, “It’s not telling the The Exodus from Egypt is one of the central story so as to remember what happened. It Jewish storylines. At the most basic level, we happened so as to be the stimulus for a... are commanded to “tell your child” the story meaningful story.” In the end, she said, “you of the Exodus and “all that the Lord did for me might find yourself telling a better story when I left Egypt,” as it says in the Haggadah. than what is actually written in the text. So But if we were only to tell the literal story, we long as there is some connection.” would open up the book of Exodus and begin And while “storytelling” on seder night reading. We don’t. With our Haggadahs in might be known as one of the longest story-

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telling hours around (“when are we going to eat, already?”), how will the story about the Exodus from Egypt become relevant to you as you retell it this Passover? What will be your way?

Are you a parent or grandparent wondering how you can make the ancient tradition come to life for your children and grandchildren?

Seder night is the quintessential teaching tool. We encourage children to ask questions and seek answers. Toward the very beginning of the maggid, the “telling,” are the Four Questions. When the youngest at the table (whether a toddler, a teenager or a young adult) reads the questions, create an opening and see what kinds of questions the children might have about Passover. For the young ones, it might be about what they see on the seder table (add some things to pique their interest, like candies or plastic frogs).

For older children, the questions might have to do with the central themes of the seder, like what freedom from slavery really means for us today.

Are you a spiritual seeker?

Focus on your preparation for Passover this year. The ritual of bedikat chametz, searching for leavened bread, offers a perfect opportunity. Chametz symbolizes excess and all that “puffs us up.” By contrast, matzah is simple food without any of the extra leavening to complicate matters.

Passover is a time to return to simplicity. As we dust away the crumbs in our search, consider the things that “puff you up” or get in your way of connecting to your true essence.

Then take those last pieces of crumbs and burn them the next morning. This cleansing of your home might take on a purifying aspect for you personally.

Are you unhappy with the status quo?

Just think about how many questions

there are throughout the Haggadah. The Four Questions at the start of the seder, then another set of questions that the four children ask. The questions aren’t placed there just to engage children. Asking questions is a profound act; it signifies that we are unsettled and eager to move things forward.

Asking questions is liberating.

And before any question is asked, at the very start of the maggid we say, “This is the bread of affliction... Whoever is hungry, let him come and eat... This year we are here; next year may we be in the land of Israel.

This year we are slaves; next year may we be free people.”

The positioning of the statement about the bread of affliction right before the Four Questions makes a profound statement.

Perhaps we need to first envision the ideal situation and then ask questions as a way of shaking up the status quo and potentially achieving profound social change.

What questions do you have for yourself this Passover that can make steps toward that change happen?

Are you (or are your guests) marginally connected to Jewish life?

When we come to the section of the four children, we read that in response to the simple child, who doesn’t know how to ask a question, as patakh lo, ordinarily translated as “you prompt him,” but literally means “you open him up.” How might you engage those at your seder table who don’t see themselves as a part of the Jewish story? Consider asking them about their personal history and the Passover memories they have from their parents and grandparents. Have them share those memories at the table.

During Dayenu, after reading the traditional section, invite your guests to add their own words of dayenu. Move from the global Continued on page 47

March 30, 2012 | The Jewish Press | 47

New Haggadahs: Reform version, novelists’ take and Ethiopian flavor

by DAVID A.M. WILENSKY SOUTH ORANGE, N.J. (JTA) -- Leading a seder for the first time this year? There’s an app for that.

Entries in the annual stream of new Haggadahs this year include a Reform version that comes in hardcover, paperback and iPad app editions. Two others feature a gorgeously designed Haggadah that features an array of literary celebrity contributors and one with an Ethiopian flavor.

The Reform Haggadah, Sharing the Journey: The Haggadah for the Contemporary Family (CCAR Press), is terrific for its introductions and artwork, bland in its content and promising in its use of technology.

Sharing excels as a guide to Passover for those who are new to the seder -- sections help firsttime leaders with planning -- or need a major refresher. It covers the entire weeklong holiday, from searching for chametz before through the beginning of the counting of the Omer at the end.

But the seder itself is bland.

Responsive readings -- a hallmark of Reform ritual that seemed to have disappeared with the arrival of Mishkan T’fillah, the current Reform siddur -unfortunately are back.

Too often the surface themes of the exodus story outshine the subtler values of the seder. However, Sharing gets it right by taking prospective seder leaders straight from a section on leading the seder to one called What Matters on Passover Is That Questions Are Asked.

The highlight here is the artwork of Mark Podwal. His impressionistic illuminations in Sharing are a great addition to the tradition of Haggadah art.

Podwal interprets one of the four children as a headless suit of armor with a book at its feet and one as a Torah with a book for a head. The other two have book torsos and heads -- one open and facing us, the other closed and facing away.

A few years ago, Sharing might have come with a CD, but instead it suggests downloading tracks online to learn seder tunes. (Of course, iPad app version users will have them at their fingertips.)

Despite emphasizing singing during the seder, Sharing misses musical opportunities, such as its replacement of the psalms known as Hallel with “interpretive readings” of two psalms. (More of Hallel appears in an appendix -- in English.) Meanwhile, Sharing goes for music that was probably best left out. Two cringe-worthy songs feature the tune of Take Me Out to the Ballgame.

Coffee table art books have given birth to an entire subgenre of artistic, if unwieldy Haggadahs, including the gorgeous New American Haggadah (Little, Brown and Company). Edited by novelists Jonathan Safran Foer and translated by Nathan Englander, this Haggadah aims not just to tell a story but to be about storytelling. It is far too unwieldy to be deployed in full at your seder, but that hardly seems to be its ambition -- and it’s too beautiful to pass up.

New American was typeset brilliantly by Oded Ezer, whose ethereal illustrations are a striking break with the concrete representations with which Haggadahs are usually sprinkled. Though design occasionally trumps usefulness, each page is a delight. A meta-telling of the story runs throughout, a timeline of the history of Passover itself strung along the top margin of the pages. The imagery is based on Hebrew letter forms that match the period of the timeline on the page.

In addition to Englander and Foer, the seder is periodically interrupted by brief essays by the likes of Atlantic columnist Jeffrey Goldberg and children’s author Lemony Snicket.

The interruptions include installments in each of four streams of brief essays, each stream by a different author.

The streams cover four themes: Nation, Library, House of Study and Playground.

Why didn’t anyone think of handing the seder, the Jewish narrative ritual par excellence, over to novelists before? New American indeed.

The story of the ongoing immigration of Ethiopian Jewry to Israel seems to be a perfect thematic match with Passover. As interest grows in farflung Jews with unexpected skin tones, an Ethiopian Haggadah was inevitable.

What a shame, then, that The Koren Haggada: Journey to Freedom (Koren Publishers Jerusalem) is such a whitewashed letdown. It’s The Gould Family Edition, edited by Rabbi Menachem Waldman and translated by Binyamin Shalom. While Waldman has written a number of books on Ethiopian Jewry, it is implausible that no priests of the Ethiopian community could be found to at least coedit Journey.

In his introd u c t i o n , Waldman says that Journey to Freedom includes “the traditions and heritage of Ethiopian Jewry alongside the story of the exodus from Ethiopia.” Sadly this is not at all what Journey does. Instead it tells of Ethiopian Jewry in a series of sidebars and photographs interspersed among a standard Modern Orthodox seder.

The Ethiopian observance of Passover, which they call Pasika, is given some attention, but an introductory section spends a scant page or so on the community’s actual traditions for consuming the paschal sacrifice and telling the story of the Exodus. Instead, Journey buries their traditions under contemporary Orthodox ones, as the Israeli rabbinate has long sought to do.

Each of the three diverse Haggadahs fills a special niche and has a unique take on the seder.

Bring the New American Haggadah on your journey this year. And first-timers may appreciate Sharing the Journey as a guidebook. The Koren Ethiopian Haggada? It’s best left behind in Egypt.

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Storytelling Continued from page 46 to the local and the personal. Some examples might include global concerns, such as “When we care for our environment the way we care for our own backyards, dayenu”; local ones, such as “When we care for the homeless in our community the way we care for our own families, dayenu”; and personal ones, like “When we cherish our Jewish inheritance, the way we cherish fine jewels, dayenu.” Encourage people to make up their own versions.

The seder experience requires us to be engaged storytellers, not passive participants. While the storyline might meander a bit from the script we have before us, as my late-night musings with my children, strive to see yourself inside the Passover story.

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with unique ritual objects

by PENNY SCHWARTZ BOSTON (JTA) -- To prepare for their first Passover seders, Zoe Scheffy, Lesley Frost and Joanna Brichetto drew on their creative instincts: Scheffy pulled out her knitting needles; Frost gathered scraps of felt, braided ribbon and tacky glue; and Brichetto rounded up household items, her kids’ plastic frogs and Beanie Babies.

The three women, of different backgrounds, were making unique Jewish crafts that transformed their holiday celebrations from ho-hum to memorable.

Their ideas and projects are now featured in books and on Jewish internet sites encouraging others to find crafts that enhance their Jewish observance of Passover, which this year starts on the evening of April 6, and other holidays.

Crafting is in, says Diana Drew, an editor of many craft books, including two by style maven Martha Stewart, whether as a reaction to an overly wired, fast-paced world or the harsh economy.

Scheffy and Frost are among the 30 artists and craftspeople from the U.S. and Israel whose work is profiled in Drew’s most recent book, Jewish Threads (Jewish Lights), which she coauthored with her husband, Robert Grayson. Passover projects include Scheffy’s knit seder plate, a quilted Ten Plagues matzah cover designed by Shellie Black of Seattle, and an afikomen envelope made of fabric designed by Claire Sherman of Berkeley, CA. More than a set of how-to instructions, the book reveals the spiritual journeys that inspired the artists to create their Jewish ritual objects or communal projects.

Drew and Grayson found a tremendous range and diversity of craft projects across the country. Drew noted to JTA the ritual objects for the seder table and playful props that infuse the Passover celebration with more spiritual meaning and a personal imprint.

Embellishing ritual objects is nothing new, Grayson says, citing examples of centuries-old hand embroidered tallit and Torah scrolls, as well as communal-made wedding chuppahs.

Drew says that creating high-quality handmade Jewish objects reflects the concept of hiddur mitzvah, beautifying the commandments, and will evoke memories in years to come.

“That is what Jewish crafts bring to a person’s life and home,” she said.

In a conversation with JTA, Scheffy, a Boston-area mother of two with a doctorate in Scandanavian Sami folk art, said she was inspired to create her knit seder plate by her lifelong passion for fiber art. Rather than buy a conventional seder plate, Scheffy wanted to create one that combined tradition and innovation, a reflection of her own multicultural identity as an African-

American and Jewish woman.

The hexagonal design of the seder plate, with six triangles, features a Star of David in the center. The Hebrew words for bitter herbs, egg, shank bone and other ceremonial foods are knit into the plate in a separate color.

While the idea of preparing her own seder was daunting at first, making the seder plate was a learning experience.

“I felt more prepared,” she said. The project also made an impression on her 9-yearold daughter, who took an active role in last year’s seder, Scheffy said.

Frost, a Britain native now living in New Jersey, told JTA that craft projects such as the Passover puppets became a way to express herself Jewishly and to learn about Jewish holidays along with her children. After years of attending her husband’s family’s traditional -- and lackluster -seders, Frost, a Jew by choice and an

Zoe Scheffy’s hectagon-shaped seder plate with a Jewish star in the center.

Credit: Diana Drew educator by training, vowed to create a more accessible and livelier seder for her family.

At the time, she and her husband were raising their children in Houston. Inspired by the Exodus story retold in the Passover Hagaddah -- and recalling how crafts were an important part of her own schooling in England -- the mother of two created AfikoMan, a hand puppet made of felt and fabric.

In subsequent years Frost added Moses, Aaron and Pharoah puppets that often sat on the Passover table and were used for play or a re-enactment of the Exodus story.

Frost, who also made Purim puppets, created sets of the puppets for her children’s Hebrew school. Eventually she built a small crafts business: For many years she and her business partner sold their crafts at Jewish educator conferences and presented puppet Continued on page 51

March 30, 2012 | The Jewish Press | 49

Temptations: Modern Kosher recipes for every occasion

Read it and eat Reviewed by LOIS FRIEDMAN

by CONGREGATION KETER TORAH ($39.95) www.ketertorah.org/cookbook In this cookbook fundraising project for their synagogue in Teaneck, New Jersey, the sisterhood, ATARA, collected international recipes from congregation members, family, friends and chefs. The intention was to have “something for everyone and dishes for all occasions” maintaining a small town feel within their large Jewish community of over 300 families. The cookbook committee selected and triple-tested 200 recipes to illustrate modern kosher cooking by conducting many tasting and voting events to choose the best of the best. The editorial staff did “quality checks” with their wine consultant for the kosher wines for every budget to pair with the recipes and menus.

The illustration team included a graphic designer, food stylist and photographer which resulted in a handsome, oversized format. The opening page in each of the chapters (Starters, Salads, Fish, Poultry, Meat, Sides, Pasta & Grains, Cakes, Cookies & Bars, Desserts, and Pesach) contains a list of the recipes included. Each of the recipes are one-to-apage format, indicate pareve, dairy or meat, and have clear step-by-step instructions helpful to beginning and experienced cooks. Many dazzling full page colorful photographs are throughout the cookbook.

The year round collection features kosher dishes such as a party smokin’ blacken salmon, not your usual gefilte fish, Russian beet salad for celebrations, peanut butter chicken and refreshing mango or seasonal strawberry soups. For those of you who don’t eat rice for Passover, a quinoa recipe is included (“Many Rabbis hold that quinoa is kosher for Passover.” In “The Rabbi’s Word” introduction it is suggested that it is best to study all of these laws with a personal mentor.). Lots of recipes are holiday specific... latkes for Chanukah, challah for Shabbat, a meatball recipe as a Sukkot favorite, Hamantaschen and Queen Esther’s Chicken

with the question “Did Esther serve this at her seudah?”

The Pesach section lists nineteen recipes from Mockaroni and Cheese using matzo farfel, Tzimmes Souffle, a lasagna using dampened matzo, a ginger/garlic/crushed soup nut crumb crusted chicken topped with apricot preserves (now, how good does that sound?!). If there aren’t enough ideas there are 59 Pesach Possibilities with substitutions where necessary listed from all the other chapters.

Using these recipes gather family and friends, create traditions and like Abraham whose tent doors were open on all sides... welcome and feed!

VEGETARIAN CHOPPED LIVER 2 large onions, chopped 1 cup walnuts 16 ounce canned peas, drained 1 hard boiled egg Saute the onions in a large saucepan over medium-high heat, until soft and brown. Grind walnuts in a food processor. Add peas and continue to process. Add egg and onions, until well mixed, variation: For a lower cholesterol dish, substitute two egg whites for the whole egg. Best when prepared one day in advance.

Yield: 6 servings MACAROON PIE CRUST 1 1/3 cups macaroons 1/2 cup butter or margarine, (1 stick) in 16 pieces 1/4 cup sugar 1/4 teaspoon cinnamon Preheat oven to 375 degrees F. Place macaroons in food processor. Process the macaroons using metal blade, until fine crumbs form, about 15 to 20 seconds. Add remaining ingredients and process until well blended. Press crust into the bottom and up the sides of an ungreased 9 inch pie pan.

Bake for 7 minutes or until golden brown. Cool completely before filling. This is the perfect complement to the Homemade Italian Ices as well as any Pesach pie.

Yield: 8 servings HOMEMADE ITALIAN ICES

I CAN’T BELIEVE THEY’RE PESACH BROWNIES 1/2 cup cake meal 1/3 cup cocoa

1 cup sugar 3 eggs 1/2 cup oil coarsely crushed walnuts, optional Preheat oven to 350 degrees F. Grease an 8 x 8 pan.

Sift cake meal and cocoa together 3 times. Beat sugar and eggs together in a separate bowl. Add oil, cake meal and cocoa to the sugar mixture. Combine, but do not over-mix.

Pour batter into prepared pan. Sprinkle walnuts over batter before baking, if desired. Bake for 35 minutes or until a tester comes out clean.

Yield: 12 to 16 brownies

1/2 cup sugar

1 cup boiling water 1 package red jello (any flavor) 2 cups mixed berry juice Combine all ingredients in a large bowl, stirring to dissolve sugar. Pour mixture into a 9 x 13 inch pan and freeze overnight.

Transfer ices to bowl of food processor. Process until the texture is uniform and fluffy. Transfer to freezer-safe, decorative serving bowl, cover and freeze. Thaw slightly before serving.

Variation: Pour into pie crust for a frozen dessert.

Yield: 8 to 10 servings Lois Friedman can be reached at ReadItAndEat@ yahoo.com and check out: http://www.omahapubliclibrary.org/whats-hot/read-it-and-eat.

50 | The Jewish Press | March 30, 2012

Seder can be splendid the second time around

by SUZANNE KURTZ commentary and fostering discussions is also encouraged, and an interactive plague kit. The purpose, says the URJ’s WASHINGTON (JTA) -- Rabbi Stuart Rosenblatt, a sub- he said, adding that “whoever adds to the [Passover] story is Rabbi Rex Perlmetter, is to help people “go beyond the urban Washington spiritual leader, jokes that “The second to be praised.”

Haggadah” during the seder. night of Passover was invented because God knew there In addition, Cantor Alane Katzew, the worship and would be in-laws.” music specialist at the URJ, encourages activities for The first seder may last late into the night as the children at a seder such as performing skits and acting ancient story is told, the questions are asked and the out scenes from the Haggadah, as well as incorporating blessings recited. But when it is over -- if you live outside a favorite love song that can serve as a compliment to of Israel -- many will have an encore the next night. the traditional Song of Songs.

In ancient times, before the days of a set calendar, a Families can also look to different cultural backdrops second seder was added to the celebration of Passover to for ideas when making something as simple as the ensure that Jews living outside of Jerusalem would get charoset, says Katzew. She recommends finding inspirathe notice in time that the holiday had begun. tion in the culture of Jews from places such as India, In the modern world there is hardly any doubt over Italy or Morocco by using less traditional ingredients what day of the week that Passover falls or when to like bananas, cranberries, cloves and even different nuts begin celebrating holidays. But Mark Leuchter, profesin the dish. sor of Jewish studies at Temple University, says today “There are lots and lots of ways to be creative,” Katzew there are more symbolic reasons for maintaining the says. “Begin with your own passion and whatever it is tradition of preparing a seder on the second night of that might have relevance to you and will help bring Passover. [you] forth from a personal Egypt.”

Creating a colorful table can add some spice to the second-night seder.

“The second seder gives us an opportunity to affirm For Rabbi Michelle Greenberg, the second night of Credit: Laurie Blumberg-Romero our identity as Jews in the diaspora,” Leuchter says. “It’s Passover has become a more intimate affair than the an affirmation of our ability to thrive outside Israel.”

Jamie Jakobowitz appreciates the opportunity of having first evening. While she will attend the first seder with lots While that may be so, is it still necessary to conduct a two seders in order to spend quality time with both her fam- of friends and family, on the second night it is usually time repeat performance of the first night? ily and her husband’s. The suburban Philadelphia social saved for her father and stepmother. Together they recite all Rosenblatt says that spending the second seder with dif- worker doesn’t mind reciting the entire hagaddah again on of the traditional Passover blessings before beginning a disferent people either at home or by attending a community the second night. cussion on a theme like personal freedom or gratitude. seder at a synagogue is one way to ensure that the evening is “As an adult I love it,” she says.

“We talk about our lives, but in the context of a seder,” says different from the previous one. He also suggests using a difJakobowitz does admit, however, that it can be “trying” to the Jewish educator from northern California. And over the ferent Haggadah for the second seder to help bring out dif- have her two small children sit through several hours of years, the discussions have helped bring the family closer, ferent aspects of the Passover story. plagues and prayers two nights in a row. she says, yet at the same time fulfilling the religious obliga“The Haggadah we use today is not the one Moses and the To help families combat seder fatigue, the Union of tion of retelling the Passover story.

Children of Israel used. It has evolved over time and is a Reform Judaism will host a one-hour webinar this month “We use the Haggadah and also our own lives,” Greenberg product of centuries of innovation,” says Rosenblatt, of with suggestions for infusing some creativity into the says. “Passover is all about the story, but writing one’s self Congregation B’nai Tzedek in Potomac, Md. Contributing Passover seder by adding new melodies, customs, questions into the story.”

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March 30, 2012 | The Jewish Press | 51

The last night in Egypt: Reliving the Exodus

by DAVID ARNOW SCARSDALE, N.Y. (JTA) -- The Passover Haggadah challenges us not just to remember the pain of slavery and the joy of freedom, but to relive the journey from one state to the other: “In each generation, every individual should feel as though he or she had gone out of Egypt.” How can we achieve that?

The Haggadah contains the answer in a simple phrase: “Whoever elaborates upon the story of the Exodus deserves praise!”

In that spirit, here’s an idea for a discussion to help bring the saga of the Exodus to life. If possible, conduct this activity in a room other than the dining room, before you sit down at the table. For those who haven’t tried it, you’d be amazed at how much easier it is to engage people when you’re not sitting at the seder table.

Here’s the background: It’s the Israelites’ last night in Egypt, the night of the final plague, the slaying of the Egyptian first born. (Note: Sources are divided as to whether this plague targeted only males or included females as well.) When the Egyptians learned about this fearful plague, some Egyptian mothers decided to seek refuge for their firstborn in the houses of Israelites. Imagine the Israelites, sitting safely in their homes, and suddenly there’s a knock at the door and an Egyptian mother is pleading for the life of her firstborn.

Should the Israelites take in the Egyptian firstborn?

This works very well as a simple drama. Choose someone to be a door; he or she simply stands in the middle of the room with arms outstretched parallel to the floor. Ask a few people to stand on one side of the door and play the part of the Egyptian mothers begging to save the lives of their firstborn. Ask others to be on the other side of the door and play the role of Israelites. Since Israelites don’t always agree with one another, some should argue for and others against letting in the Egyptians.

If you have lots of people at your seder, you can either let people participate in the drama from the “audience” or ask anyone with something to say to join the drama on one side of the door or the other. Remind everyone that these are matters of life and death, so amplifying the drama and emotion are

fine. Arguments based on any historical periods are welcome.

Feel free to allow questions about the morality of the last plague. Also remember that Exodus 12:22 says that the Israelites should not leave their homes until morning. The Bible says nothing about whether or not to let others in or to keep the door closed.

When the drama has ended, ask your group to vote: Are you letting in the Egyptians or not?

Now share the following midrash (Exodus Rabbah 18:2) with the group. It was written down about a thousand years ago, but is probably based on a more ancient source.

Before reading the short text, you might ask your guests to vote again about whether they think that in the midrash the Israelites take in the Egyptians or not.

When the Egyptians heard that God would strike down their firstborn, some were afraid and some were not. Those who were afraid brought their firstborn to an Israelite and said, “Please allow him to pass this night with you.” At midnight, God smote all the firstborn. As for those who took asylum in the houses of the Israelites, God passed between the Israelites and the Egyptians, killing the Egyptians and leaving Israelites alive.

Upon waking at midnight, the Jews found the Egyptians dead among their surviving firstborn.

The midrash seems to suggest that independent of whatever divine plan may ultimately unfold, on earth we have a responsibility to act in accordance with human moral codes that stress the importance of saving human lives. In this light you might want to consider these questions: Have we stood idly by the blood of our neighbors (Leviticus 19:16)?

Have we remembered to “know the heart of the stranger because [we] were strangers in Egypt” (Exodus 23:9)? Have we used our memories of suffering and persecution -- in Egypt and elsewhere -- to nurture vengeance or to remember our responsibility to create a better world?

David Arnow is the author of Creating Lively Passover Seders, 2nd Edition: A Sourcebook of Engaging Tales, Texts & Activities and co-editor of My People’s Passover Haggadah: Traditional Texts, Modern Commentaries, both published by Jewish Lights Publishing.

Crafting a memorable Passover Continued from page 48 good conversation starter about demonstrating compasshows for schools and synagogues. This year, more than sion for those harmed by the plagues. two decades later, she is extending her tradition to another In her role as a religious school teacher and in outreach generation, making a new Afiko-Man puppet for her first with synagogue families, Brischetto discovered that handsgrandchild. on craft projects leveled the Raising her young family playing field for families in Nashville, Tenn., from different backgrounds Brichetto was turned off by and religious experiences. seders where children were There is value in making unengaged and in another Jewish things with children, room. A seder at the home she said, from spending time of a rabbi provided an aha together to educational moment. He included the moments to learn together kids, she recalls. about the holiday.

“I realized that seders In 2008, noticing a void in don’t have to be adult cenresources for Jewish famitered and boring,” she said. lies, Brichetto started a webWhen Brichetto’s family site for Jewish parents, and decided to make its own Bible Belt Balabusta, a blog seder, she and her children for Jewish do-it-yourself gathered up small plastic crafts projects. Now there is toys, Beanie Babies and an explosion of interest for household objects to make a Jewish family engagement crude version of a Ten and home-based activities; Plagues bag. It was an edushe’s even heard from cational way to connect, be Christian preachers who use engaged and have fun with her site as a model for their the holiday. religious outreach.

Over the next few years Words of wisdom from the the idea took off, with more craftswomen? elaborate objects to repreDon’t be intimidated, each sent the plagues. The plague Zoe Scheffy at her home with her knit seder table runners, advised. bags became such a hit that her first design for a knit seder plate.

Jewish Threads (Jewish Credit: Penny Schwartz Lights, $19.99), by Diana she and a friend went into mass production, starting a Judaica business with the Drew with Robert Grayson. A pattern for Zoe Scheffy’s plague bags and other craft projects.

Passover table runners is available on www.seaside knitWhile Brichetto has heard occasional criticism of invok- tingpatterns.com. Joanna Brichetto writes about Jewish ing humor with the plagues, she says the bags provide a parenting at www.jewisheveryday.com.

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Fruit conserve offers some Seder Sweetness

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by PENNY SCHWARTZ BOSTON (JTA) -- Robin Cohen, a computer programmer turned national award-winning cook and food writer, recalls vivid childhood memories of her family’s Passover kitchen, when charoset was made in a large, old-fashioned wooden chopping bowl.

A small portion of the tasty fruit-and-nut mixture was placed on the seder table, a symbol of the bricks and mortar used by the Israelites when they were enslaved in ancient Egypt. The rest was reserved for the next day, when the flavorful combination of apples, nuts, wine and cinnamon, with a bit of honey and lemon, was enjoyed as a spread on matzah.

The fragrant flavors of charoset past inspired Cohen to create Seder Sweet-ness, a new jarred fruit conserve that will be available in Boston-area shops. The recipe is not hard for home cooks to follow, she says.

The idea for Seder Sweetness jelled last fall, when Cohen began selling her fruit conserves and preserves at local farmers’ markets. Cohen, who won Micheal Ruhlman’s 2011 national holiday cooking challenge for her rugelah, had just launched Doves and Figs Kitchen, a home-based business devoted to making and selling fruit preserves using local fresh fruit.

A Rosh Hashanah variety made from apples, figs, almond and honey became a popular seller; it reminded some customers of charoset. Since then, Cohen has tried several recipes for an authentic charoset flavor, tweaking apple varieties and the balance of other ingredients. Despite the New England winter, she’s still able to use local apples, along with local honey, she told JTA. Cohen makes a sugar syrup with sweet kosher wine, lemon and honey, then adds chopped apples and toasted walnuts (recipe below). She is branching out with other Passover-inspired conserve recipes, including savory ones.

Her winter carnival recipe made from cranberries, apples and pears is a perfect accompaniment for brisket or lamb, and was awarded a prize last October from the American Lamb board. She is now testing recipes for an apple-horseradish preserve embellished with mint as a touch of Passover greenery. Horseradish is trendy in the food world right now, Cohen says.

Last Passover, Cohen got playful, offering a recipe on her blog for Wicked Son Eggs and Drunken Passover Grilled Cheese using kosher for Passover cheddar cheese, matzah and sweet kosher wine. But making jams, conserves and preserves is her passion, and a family tradition. As a child, Cohen spent summers on Montauk, Long Island, where she and her brother helped their dad pick beach plums and grapes to make jars and jars of jam. They used the old-fashioned method of boiling the fruit for a long time to enhance the natural sweetness while using only a small amount of sugar and no pectin.

Jewish family gatherings were a time when the jams were served. House guests always left with jars of the summer jams as gifts, she recalled. Offering a jar of the charoset conserve as a gift to a seder host adds something homemade and local, she suggests.

ROBIN COHEN’S SEDER SWEETNESS Ingredients: 8 cups apples (measure after peeling, coring, and dicing) 1 cup water 4 cups sugar 1/2 cup walnuts 1/4 cup kosher sweet wine 2 tablespoons honey 2 tablespoons lemon juice Zest of 1 lemon 1 cinnamon stick Preparation: Toast walnuts in a 350 degree oven until lightly toasted and fragrant. Set aside to cool. Combine sugar, water, wine, honey, lemon juice, and spices in a large pot and cook over medium high heat until slightly thick and syrupy (about 10 minutes).

Stir in apples and cook over medium heat until apples soften slightly. Boil until liquid starts to set (will be softer than a traditional jam). Remove cinnamon stick, mix in nuts.

Refrigerate or can.

Yield: 8-10 8-ounce jars.

March 30, 2012 | The Jewish Press | 53

Recipes to please the crowd and de-stress the chef

by JAMIE GELLER NEW YORK (JTA) -- Passover may be the mother of all kitchen yontifs, but stay cool and don’t stress. Here are some of my favorite recipes from last Passover that you will love this Passover and all year.

Last year, 99 percent of what I made for Passover weren’t actually Passover recipes. Of course they were kosher for Passover, but they didn’t require any major Passover ingredient tweaks. These recipes were developed with Passover in mind and have become staples in my yearround repertoire because they were super easy and got the most oohs and ahhs.

OK, real gourmet chefs don’t keep a tally of how many people flipped over this or that dish -- but I really need to know. The winners on my menu get to come back and try for eternal stardom.

And the winners are: • Salmon Croquettes with Tropical Fruit Salsa: You can make this even easier by skipping the fresh salmon and using good quality canned salmon.

• Zucchini and Red Bell Pepper Saute: Shamelessly simple and super beautiful, it is pleasing to the eye and the palate. Audience applause told me that the zucchini actually tasted better when prepped this way.

• Pomegranate Braised Brisket: So tender and so sweet, this piece of meat just melts in your mouth.

Follow my lead, and this year every dish you serve will be truly delicious, not just “pretty good for Pesach stuff.” Chag kasher v’sameach - Have a happy and kosher holiday!

SALMON CAKES WITH TROPICAL FRUIT SALSA Croquettes are cute and elegant for your starter course.

They’re also wonderfully light and refreshing. The tropical salsa is a combination of fresh pineapple, mango, red onion, jalapeno, cilantro and lime juice -- the perfect complement to the richness of the salmon. The balance of sweet and savory flavors instantly pleases the palate. This is a starter with zing!

Times: Preparation: 15 minutes Cooking: 45 minutes Ready: 60 minutes Ingredients:

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For cakes: 1 (2-pound) side of salmon, skin on 1/2 cup red onion, diced 2 tablespoons matzah meal 2 large eggs, lightly beaten 1 teaspoon kosher salt Freshly ground black pepper 4 tablespoons olive oil For salsa: 1 cup diced pineapple 1/2 cup diced mango 1/2 cup diced red onion 2 tablespoons chopped cilantro 1/2 jalapeno, seeded and finely chopped Juice of 1 lime 1/2 teaspoon kosher salt Directions: Preheat oven to 350 degrees and lightly grease a large baking sheet. Bake salmon skin side down for 25 to 30 minutes or until cooked all the way through.

Let cool completely.

Once salmon is cooled, gently flake away from the skin and break into large chunks. Place in a large bowl and combine with eggs, red onion, matzah meal, salt and pepper. Stir to mix well. Scoop about 1/3 cup at a time into your hands and form into a round patty about 1/4inch thick. Place on a sheet pan and repeat with remaining mixture until you have formed 10 cakes. Refrigerate for 30 minutes.

Meanwhile, in a medium bowl combine pineapple, mango, red onion, cilantro, jalapeno, lime juice and salt. Mix well and set aside.

Heat olive oil in a large skillet over medium high heat. Fry 5 cakes at a time for about 5 to 8 minutes per side or until golden brown and crispy. Drain on a paper towel-lined plate while frying remaining cakes.

To serve, top each cake with a few tablespoons of salsa.

Servings: 10 cakes ZUCCHINI AND RED BELL PEPPER SAUTE Times: Preparation: 10 minutes Cooking: 15 minutes Ready: 25 minutes

Ingredients: 3 tablespoons olive oil 4 medium zucchini, sliced into ribbons using a vegetable peeler 4 cloves garlic, minced 4 roasted red bell peppers, thinly sliced 1 teaspoon paprika 1/2 teaspoon kosher salt Directions: Heat oil in a large skillet over medium high heat. Add zucchini ribbons and saute 6 to 8 minutes or until slightly softened. Add garlic and saute 3 minutes more. Add bell pepper and saute 5 more minutes or until warmed. Stir in paprika; salt and toss to coat.

Servings: 8 POMEGRANATE BRAISED BRISKET Times: Preparation: 5 minutes Cooking: 4 hours Ready: 4 hours, 5 minutes Ingredients: 1 four-pound first cut beef brisket 1/2 teaspoon kosher salt 1/2 teaspoon freshly ground black pepper 4 tablespoons olive oil, divided 3 medium onions, peeled and cut into eighths 6 cloves garlic, smashed 2 cups pomegranate juice 2 cups chicken broth 3 tablespoons honey 3 bay leaves 1 small bunch fresh thyme Directions: Preheat oven to 375 degrees. Season brisket with salt and pepper. Heat 2 tablespoons olive oil in a large roasting pan or dutch oven over medium high heat. Sear brisket about 4 minutes per side or until browned. Remove and set aside.

Add remaining 2 tablespoons olive oil and saute onions and garlic for 5 minutes over medium low heat until softened.

Return brisket to pan and add pomegranate juice, broth, honey, bay leaves and thyme. Bring to a boil, then reduce to a simmer and cover. Transfer to preheated oven and roast for 2 hours.

Flip brisket over and continue roasting for 1 to 1 1/2 more hours or until tender. Let brisket rest for 10 minutes before thinly slicing against the grain. Strain liquid and serve on the side as au jus.

Servings: 8 Jamie Geller is the author of the best-selling Quick & Kosher cookbook series and creator of the Joy of Kosher with Jamie Geller magazine. She is the host of the popular Quick & Kosher cooking show online at youtube.com/ joyofkosher and on-air on JLTV. Follow more of Geller’s Quick & Kosher cooking adventures on Twitter @JoyofKosher and on facebook.com/joyofkosher.

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54 | The Jewish Press | March 30, 2012

Synagogues B’NAI ISRAEL SYNAGOGUE 618 Mynster Street | Council Bluffs, IA 51503-0766 | 402.322.4705 email: CBsynagogue@hotmail.com For information on our historic synagogue – dates and times for Friday night services, please call 712.323.8885.

BETH EL SYNAGOGUE Member of United Synagogues of Conservative Judaism 14506 California | Omaha, NE 68154-1980 | 402.492.8550 www.bethel-omaha.org Services conducted by Rabbi Mordechai Levin, Rabbi Steven Abraham and Cantor Beth Schlossberg.

FRIDAY: Kabbalat Shabbat Service, 6 p.m.

SATURDAY: Shabbat Services with Men’s Club Shabbat, 9:30 a.m.; Mincha/Ma’ariv, 7:40 p.m.

WEEKDAY SERVICES: Sundays, 9 a.m. & 5:30 p.m.; weekdays, 7 a.m. & 5:30 p.m.

SUNDAY: Men’s Club members will kasher the synagogue kitchen for Passover, 8 a.m.; Torah Study Discussion Group, 10 a.m.

BESTT: Students will be on Passover/Spring Break from March 31-April 10. Classes resume Wednesday, April 11.

MONDAY: Wrestling with Rabbis of the Talmud, 10 a.m. with Rabbi Abraham.

THURSDAY: Rabbi Levin’s What Do Jews Believe, noon.

Shaharit/Siyyum B’khorim, 6:50 a.m. and Kabbalat Shabbat on Friday, April 6, 5:45 p.m.

Congregational Seder, Friday, April 6, 6:30 p.m. Seder. For prices, reservations, or more information, visit the synagogue website, www.bethel-omaha.org (type ‘Passover’ in the search box), or contact Margie in the synagogue office or at programming@bethel-omaha.org. To make a reservation, send a check to “Community Seder,” Beth El Synagogue, 14506 California St., Omaha NE 68154. Reservations may also be made online at www.bethel-omaha.org.

Shacharit, 9:30 a.m. and Mincha/Ma’ariv, 7:50 p.m. on Saturday, April 7.

Join Men’s Club on Monday, April 9, 6 p.m., to package yellow candles for Yom HaShoah project. A light dinner will be served.

YAC Playgroup will meet on Tuesday, April 10, 10:30 a.m., at the synagogue for a play date with the rabbis and cantor in the nursery. For more information, contact Caryn Scheer at carynscheer@yahoo.com.

Jewish Values in Today’s World class on Sunday, April 15, 11 a.m., led by Rabbi Levin.

All Beth El classes and programs are open to everyone in the Jewish community.

Pesach preparations; New Feature: Parsha Patrol.

SUNDAY: Service, 8:30 a.m. followed by breakfast at 9:30 a.m.

WEEKDAYS: Services, 7 a.m.

TUESDAY: Farbrengen to mark 110 years since the Rebbe’s birth, 7:30 p.m. Join us for a moving evening of stories and inspiration FRIDAY, April 5: Services, 7 a.m.; Taanit Bchorot-Fast of the Firstborn, Siyum, 8 a.m.; Chametz may be eaten until 11:16 a.m. and must be burned by 12:21 p.m.; Family Seder, 7 p.m. Join us for an interactive, warm and engaging Seder.

All programs are open to the entire community.

CONGREGATION B’NAI JESHURUN South Street Temple | Union for Reform Judaism 2061 South 20th Street | Lincoln, NE 68502-2797 | 402.435.8004 www.southstreettemple.org Services conducted by Rabbi Craig Lewis.

FRIDAY: Shabbat Evening Service, 7:45 p.m. with oneg following hosted by Cindy and Rick Kohn.

SATURDAY: Shabbat Morning Service, 9:30 a.m.; Torah Study, 10:30 a.m. on Parashat Tzav.

SUNDAY: LJCS Gan through Grade 7, 9:30 a.m.-noon at Tifereth Israel, LJCS Seder; Hallah High, 10 a.m.-noon at South Street Temple.

WEDNESDAY: Hebrew classes (grades 3-7), 4-6 p.m. at Tifereth Israel; Aaron Levine of Camp Young Judaea Midwest, 5:30 p.m. will talk to LJCS families about camping opportunities at CYJ Midwest. For questions and to RSVP, contact Andrea Halpern at ahalpern1386@gmail.com or 402.217.2631.

ADULT EDUCATION TUESDAY, 6:30 p.m. Intro to Judaism, Session #12 led by Rabbi Lewis. The cost is $50 to cover course materials.

Register by calling the Temple office at 402.435.8004 or email stemple@neb.rr.com.

THURSDAYS, Beginning Hebrew, 6 p.m. and Intermediate Hebrew, 7 p.m. The cost is $50 to cover course materials. For more information call the Temple office at 402.435.8004 or email stemple@neb.rr.com.

Note: Please contact Rabbi Lewis if the cost for a class creates a financial hardship.

There will be no Shabbat Evening Services on Friday, April 6, it is the First Seder.

Annual Community Passover Second Night Seder, Saturday, April 7, 6 p.m. RSVP to the Temple office at 402.435.8004 or stemple@neb.rr.com by Friday, March 30.

Guests are welcome. Adults $13, Children 6-12 $7, No charge for children 5 & under and for college students.

BETH ISRAEL SYNAGOGUE Member of Union of Orthodox Jewish Congregations of America 12604 Pacific Street | Omaha, NE. 68154 | 402.556.6288 www.BethIsrael@OrthodoxOmaha.org Office hours: Monday-Thursday, 8:30 a.m.-4:30 p.m.; Fridays, 8:30 a.m-2 p.m. Services conducted by Rabbi Jonathan Gross and Rabbi Yitzchak Mizrahi.

FRIDAY: Kabbalat Shabbat, 7:30 p.m.

SATURDAY: Shacharit, 9 a.m. free babysitting, 9:30 a.m.; Children’s Classes, 9:45 a.m. with Torah Parade; Kiddush sponsored by Sisterhood; The Laws of Shabbat, 5:15 p.m.; Advanced Parshah Study for Kids (ages 10 and up), 6:15 p.m.; Mincha, 7:15 p.m. followed by Seuda Shlishit; Havdalah, 8:31 p.m.

SUNDAY: Gemara class, 8 a.m., learning tractate Kiddushin; Shacharit, 9 a.m. followed by breakfast; Paysie’s Pre-Pesach Pasta Dinner, 6 p.m.

WEEKDAYS: Shacharit, 7 a.m.

MONDAY: Weekly Teleconference Mishnah Class, 10:30 a.m. with Rabbi Gross. Contact the office for information on how to call-in to the conference call; New Monthly Women’s Class, 7:30 p.m. led by Ilana Weiss.

TUESDAY: Rabbi Mizrahi’s Weekly Class, 7 p.m.

WEDNESDAY: Sale of Chometz forms due by 2 p.m.; Scholars Club for fourth-sixth graders, 3:30 p.m. with Rabbi Mizrahi; Rabbi Weiss’s Weekly Class, 7:30 p.m.

THURSDAY: Women of the Torah class, 9:30 a.m. with Rabbi Gross.

OFFUTT AIR FORCE BASE SAC Memorial Chapel 301 Lincoln Highway | Offutt AFB, NE 68113 | 402.294.6244 FRIDAY: Services, 7:30 p.m.

NEIGHBORHOOD PRAYER GROUP 1317 North 57 Street | Omaha, NE 68132 | 402.551.6609 FRIDAY: Minyan, 7:30 p.m.

SATURDAY: Services, 9 a.m.

There will be no serices held during Passover, resuming April 20.

ROSE BLUMKIN JEWISH HOME 323 South 132 Street | Omaha, NE 68154 FRIDAY: Chef ’s Demo, 1:30 p.m. with Shira Abraham from Beth El. SATURDAY: Services, 9 a.m. led by David Herzog.

Candlelighting Friday, March 30, 7:30 p.m.

PASSOVER FRIDAY, April 6: First Seder, 6 p.m., led by Carole and Andy Greenberg.

SATURDAY, April 7: Services, 9 a.m. led by Rabbi Maximo Shechet; Second Seder, 6 p.m., led by the Polack family: Susan, Jim, Josh and Max. Services will be held in the Chapel. Members of the community are invited to attend.

TEMPLE ISRAEL Union for Reform Judaism (URJ) 7023 Cass Street | Omaha, NE 68132-2651 | 402.556.6536 www.templeisrael-ne.org FRIDAY: Shabbat Service, 6 p.m. Scholar in Residence Rabbi Steve Greenberg: The Wisdom of Welcom.

SATURDAY: Torah Study, 9 a.m. Wrestling with God and Men: Homosexuality in the Jewish Tradition; Shabbat Morning Service, 10:30 a.m. William McGauvran, son of Kathy and John McGauvran, will celebrate his Bar Mitzvah; The invention of an Orthodox Gay Rabbi: A Personal Story, at Temple Israel: Introduction, 7:30 p.m., Havdalah, 8:30 p.m., Movie, 8:45 p.m. A panel discussion will follow.

SUNDAY: Grades PreK-6, 10 a.m.; Grade 3 at Rose Blumkin Home, 10:15 a.m.; PreK Seder, 11 a.m.; LGBT Inclusion Training for Religious Educators, 12:30-3:30 p.m. led by Rabbi Greenberg. This project is a partnership with Inclusive Communities and the First United Methodist Church.

WEDNESDAY: No Religious School; No Family School; No Grades 7&8.

THURSDAY: God was in this place and I did not know, 1011:30 a.m. with Rabbi Linder. He will be looking at what our tradition says about the normal moments ... Maybe they’re not so normal?; Social Justice: Stuff Backpacks, noon at Completely Kids.

Shabbat Service, Friday, April 6, 5 p.m. led by Rabbi Linder and Cantor Shermet.

Shabbat/Passover Service, Saturday, April 7, 10:30 a.m.

Congregational Seder, Saturday, April 7, 6 p.m. The cost for adults is $23, $12 for children six to twelve years old.

Reservations are required and can be made by contacting the Temple Israel office, lsherrod@templeisraelomaha.com or 402.556.6536. Reservation deadline is Wed., April 4.

TIFERETH ISRAEL Member of United Synagogue of Conservative Judaism 3219 Sheridan Boulevard | Lincoln, NE 68502-5236 | 402.423.8569 www.tiferethisraellincoln.org Services conducted by Nancy Coren, Lay Leader. Office hours: Monday-Friday, 10 a.m.-3 p.m.

FRIDAY: Shabbat Services, 6:30 p.m.

SATURDAY: Morning service, 10 a.m. with an interactive learning session followed by a special Kiddush luncheon in honor of Lorena Watchendorf ’s birthday sponsored by Rifka Keilson and Nanci Hamicksburg.

SUNDAY: LJCS Gan through Grade 7, 9:30 a.m.-noon at Tifereth Israel, LJCS Seder; Hallah High, 10 a.m.-noon at South Street Temple.

WEDNESDAY: Hebrew classes (grades 3-7), 4-6 p.m. at Tifereth Israel; Aaron Levine of Camp Young Judaea Midwest, 5:30 p.m. will talk to LJCS families about camping opportunities at CYJ Midwest. For questions and to RSVP, contact Andrea Halpern at ahalpern1386@gmail.com or 402.217.2631.

First Seder, Friday, April 6 in homes.

Pesach Services, Saturday, April 7, 9 a.m.; Second Seder in the homes.

Note: If an individual is looking for a home Seder, please call the office to leave your name and seder date request.

Armed Forces in Israel prepare for Pesach

CHABAD CENTER An Affiliate of Chabad-Lubavitch 1866 South 120 Street | Omaha, NE 68144-1646 | 402.330.1800 www.OChabad.com | email: chabad@aol.com Services conducted by Rabbi Mendel Katzman.

FRIDAY: Services, 7 a.m.

SATURDAY: Minyan, 10 a.m.; Youth Minyan, 10:30 a.m.; Kiddush lunch follows; join Rabbi Katzman from noon-1 p.m.; Special Farbrengen will address laws and customs of

Copyright: ISRANET

March 30, 2012 | The Jewish Press | 55

Advertising index Advertiser Page A Permanent Solution .................................................... 7 Abrahams, Kaslow & Cassman LLP .............................. 8 Acura of Omaha .......................................................... 20 All Makes Office Equipment Co. .................................. 44 Allens ........................................................................... 47 American National Bank .............................................. 44 Anti-Defamation League .............................................. 56 Associated Counseling Professionals ........................... 23 B’nai B’rith Henry Monsky Lodge ................................ 56 B’nai B’rith Youth Organization .................................... 24 B’nai Israel Synagogue ................................................ 56 B’nai Jeshurun Synagogue .......................................... 13 Badger Body & Isuzu Truck .......................................... 20 Bagel Bin ..................................................................... 51 Bailey, Jane A., M.D. .................................................... 32 BBG Artistry ................................................................. 34 Belgrade Family ........................................................... 11 Bergman Incentives/Bergman Jewelers ........................ 3 Beth El BILU USY ......................................................... 24 Beth El Sisterhood ....................................................... 56 Beth El Synagogue ...................................................... 56 Beth Israel NCSY ......................................................... 24 Beth Israel Sisterhood .................................................. 56 Beth Israel Synagogue ................................................. 56 Boys Town ................................................................... 22 Broadmoor Market ...................................................... 42 Brodkey’s ..................................................................... 36 Brownell Talbot ............................................................ 14 Canfield’s Sporting Goods ........................................... 27 Care Consultants for the Aging ..................................... 15 Chabad ....................................................................... 56 Christel’s ..................................................................... 47 Cohen Family ................................................................ 7 Colliers International .................................................... 26 Countryside Village ...................................................... 42 Dance Shoppe ............................................................ 42 Enterprise Bank ............................................................. 9 Film Streams ............................................................... 30 Frankel Zacharia ............................................................... 23 Fraser Stryker Law Firm ............................................... 52 Friedel Jewish Academy ............................................... 43 Gadgeteer .................................................................... 11 Gordmans ................................................................... 40 Grace/Mayer Insurance .............................................. 52 Hap Abraham Catering ................................................ 31 Hiller Electric ............................................................... 44 Hockenbergs ................................................................. 4 Horizon Dental Center ................................................. 36 Ideal Pure Water & Coffee .............................................. 7 Immanuel Communities-Pacific Springs ...................... 29 Industrial Packaging Corporation ................................. 14

Advertiser Page Institute for Holocaust Education ................................. 56 Interim Homestyle Services ........................................... 9 J&J General Contracting .............................................. 36 Javitch Family .............................................................. 23 Jewish Community Center .......................................... 28 Jewish Federation of Lincoln ........................................ 26 Jewish Federation of Omaha ....................................... 25 Jewish Federation of Omaha Foundation .................... 25 Jewish Press ...................................................... 2, 24, 46 Jewish Social Services ................................................. 38 Jewish War Veterans of America .................................. 56 Johanns, Senator Mike ................................................ 12 John A. Gentleman Mortuaries .................................... 20 Joslyn Art Museum ...................................................... 34 Julio’s .......................................................................... 31 Kohll’s Pharmacy & Homecare ...................................... 8 League Offering Volunteers for the Elderly ................... 56 Lerner Company ............................................................ 4 Lifeline by Immanuel ................................................... 48 Lion’s Automotive Upholstery ...................................... 51 Louie M’s Burger Lust ................................................. 51 Lynn Roberts International ........................................... 27 Malashock Jewelry ...................................................... 19 Malbar Vision Centers .................................................. 17 Marathon Real Estate .................................................. 29 Marathon Ventures ...................................................... 32 Mark Sanford Group ...................................................... 3 Marks Clare & Richards ............................................... 23 Marriott Regency Hotel ................................................ 12 McGill, Gotsdiner, Workman & Lepp, PC, LLO. .............. 7 McGrath North ............................................................ 17 Mid Con Systems Inc. ................................................. 27 Mid-City Jewelry & Loan .............................................. 39 Midtown Crossing ........................................................ 41 Mulhall’s ...................................................................... 11 Nan C ............................................................................ 5 Natan & Hannah Schwalb Center for Israel & Jewish Studies ................................................................... 56 National Council of Jewish Women .............................. 56 Nebraska Cultural Endowment .................................... 21 Nebraska Democratic Party ......................................... 28 Nebraska Furniture Mart .............................................. 19 Nebraska Jewish Historical Society .............................. 56 Nebraska Press Statewide Classifieds .......................... 55 Nebraska Shakespeare on the Green ........................... 16 No Frills ......................................................................... 5 Nobbies ....................................................................... 19 Noddle Companies ........................................................ 9 NOVA Fitness Equipment ............................................ 53 Omaha Academy of Ballet ........................................... 12 Omaha Compound Company ..................................... 48

Advertiser Page Omaha Community Playhouse .................................... 18 Omaha Perfoming Arts Society .................................... 43 Omaha Steaks ............................................................... 8 Omaha Surgical Center ................................................. 3 Omaha Temple Youth Group ........................................ 24 One Drake Place .......................................................... 28 One Pacific Place-Broadmoor ...................................... 39 Opera Omaha ............................................................. 35 Parsow’s ...................................................................... 35 Pasta Amore ................................................................ 50 Peterson Brothers Realty Co. ....................................... 34 Pulverente Monument Co. ........................................... 36 Regency Court ............................................................. 48 Rehab Visions .............................................................. 39 Remer Family .............................................................. 47 Remington Heights ........................................................ 6 Rockbrook Floors ......................................................... 35 Rockbrook Village ........................................................ 50 Rotella’s Italian Bakery ................................................. 15 Russell’s ...................................................................... 42 St. Joseph Villa ............................................................ 13 St. Peter & Paul, St. John Nepomucene & Holy Trinity Catholic Churches .................................................. 21 Sanctuary Day Spa ...................................................... 16 School of Rock ............................................................. 52 Schwalb Realty ........................................................... 27 Security Equipment, Inc. ............................................. 32 Security National Bank ................................................ 50 Seim Johnson ............................................................. 46 Senior Market Sales, Inc. ............................................. 45 Silverman Family ......................................................... 51 Smith Art Appraisal-Janet Smith ................................. 19 Sol’s Jewelry & Loan ................................................... 11 Sonny Gerber Auto Sales ............................................... 4 Star Catering ................................................................ 16 Star Deli ....................................................................... 33 Suburban Newspapers Inc. ......................................... 15 Swartzbaugh Farber ...................................................... 3 Sweet & Associates ...................................................... 14 Temple Israel ............................................................... 56 Terry, Congressman Lee .............................................. 37 Tifereth Israel Synagogue ............................................. 32 University of Nebraska Medical Center ......................... 10 Valpak of Omaha ......................................................... 49 van de Kamp-Wright Family ......................................... 15 Waitt Interactive ........................................................... 37 Wiesman Development ................................................ 13 Winery ......................................................................... 31 Wolfson Used Cars ...................................................... 47 Zio’s Pizzeria ................................................................ 31

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LOCATE IN 48 UPDATE Under the new Animal disease Traceability System, there is no requirement that all cattle in Nebraska have official individual ID. Official identification is required only when adult cattle are to move across a state line.

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HELP WANTED: Careers available. Grosshans International Inc. of Aurora and Grosshans Inc. of Central City, Nebraska, have full-time positions available for additional shop technicians and sales personnel. Prior experience is preferred. Please send resume to or contact Alan Anderson, Grosshans International, Inc., 1471 West Hwy. 34, Aurora, NE 68818 or call 1-402-694-2121 or 1-800-742-7423.

YOU GOT the drive, we have the direction. OTR Drivers, APU equipped pre-pass EZ-pass, pets/passenger policy. Newer equipment. 100% No Touch. 1-800-5287825.

MTC METALS buying iron per ton from your farm or ranch. Taking wire, equipment, combines, pivots, blowouts, etc. We’re insured. Call 308-530-1088 or 308530-1563.

56 | The Jewish Press | March 30, 2012

National Council of Jewish Women Omaha Section

The Natan and Hannah Schwalb Center for Israel Jewish Studies at the University of Nebraska-Omaha wishes everyone a

B’nai Israel Synagogue Council Bluffs, Iowa National Register of Historic Places A Century of Tradition 618 Mynster Street, Council Bluffs

323-8885

Happy

Happy Passover

Passover

NCJW extends its warmest wishes to the Jewish community for a Joyous Passover.

Best Wishes for a Happy Passover

Henry Monsky Lodge B’nai B’rith

402-334-6443

You’re always welcome at B’nai Israel!

Freedom is the incessant human drive to draw on one’s divine, infinite potential and reach beyond the self.

wishes its friends in the Jewish community A Passover filled with good health, happiness and peace.

Chag Sameach Rabbi Mendel Katzman, Chabad Board, Staff and Volunteers

A Happy and Healthy

Peace and Happiness on Passover 333 South 132nd Street Omaha, NE 68154 402-334-6441 or 402-334-6442 njhs@jewishomaha.org

Passover to the Community

With Your Help We’ll Have A Great Past Ahead Of Us

ItÊisÊanÊobliga•onÊtoÊtellÊtheÊstoryÊ.Ê.Ê.

Wishing the Community a Happy Pesach From the Staff and Governance Council of theÊIns!tuteÊforÊHolocaustÊEduca!on

JEWISH WAR VETERANS of AMERICA Epstein Morgan Post 260

Best wishes for a happy, healthy and peaceful Passover.

FREE membership to all active-duty personnel Contact: Jay Benton, Commander 402-250-6133 We welcome any and all new members

Beth El Sisterhood EachÊyearÊtheÊIHEÊhelpsÊsurvivorsÊtoÊtellÊtheirÊstoriesÊthroughÊ the arts, community programming, school programming, andÊcon!nuingÊeduca!onÊforÊteachers.Ê Please visit: www.ihene.org | 402.334.6576 | info@ihene.org.

League Offering Volunteers for the Elderly The Rose Blumkin Jewish Home Auxiliary

Best Wishes for a

Happy

Passover